"My name is Jacques Audiard." "I'm the director of the movie." "I'm Tahar Rahim, the actor, Malik El Djebena." "And I'm Thomas Bidegain, co-writer of the movie." "What is here?" "It's..." "It was a good idea to use the Mano Negra even on the opening credits." "It's not a big thing." "Here it is." "The first scene, the first day of shooting." "The first voice we can hear is Jean-Michel's who helped us write the movie." "In fact, he used to be a prisoner." "He spent some time in prison." " It's his voice here." " Yeah." "He was the first to draw the prison on an A4 page." "And this is really how our script started." "Malik's hands." "The handcuffs." "It's very..." "The illustration is very literal." "And this is him, Jean-Michel." "We just saw him." "And this is..." "I did what we call a Mano Negra." "I asked the cameraman to put his hand on the objective, wearing a black glove and he's doing the diaphragm." "It's like a natural fade-out." "I remember a photography book in which we found this idea of the Plexiglas." "Do you understand me?" "I understand I got six years." "I had some trouble with the actor playing the lawyer." "He was terrified." "It was very hard." "But it was the first scene, on the first day." "The first scene on the first day." "We were all terrified." "Yeah." "And here, since the first day, I had the feeling that I was too close, the focal length was too long..." "We were already in the claustrophobia." "It was terrifying." "I remember you tried a lot of things." "We could see the lawyer's shoes shining Malik was coughing..." "Yeah, that's right." "And at the end of the day, it's just the simple things." "The music from Alexandre Desplat starts here." "Alexandre Desplat's music, I'll talk about it later, it's..." "He created music that, to me, is like a Western theme like Aaron Copland's music." "The music was supposed to broaden the image, to make it bigger." "It's quite lyrical." "And we can hear an English horn." " Yes, so..." " The famous scene." "The famous scene, like the actor says." "The actor doesn't like to be shot naked." "I remember, I was frozen." "Turn around." "And this, for example, I don't remember, when did we shoot that?" "This is the second..." " ...or the third day." " Second or third." "It's in order." "Yes, because of the hair." "Malik has a beard and he's hairy." "I had doubts about this." "I thought, "isn't he too bruised?" "Isn't there too much makeup?"" " No one to wire you money?" " No, sir." "Friends inside, or enemies?" "No one, sir." "And here..." "What's working in this scene is Malik's point of view." "Yes, I had to imagine the prisoners." "It's a small thing, but it makes the prison real." "You need to know that it's a set we built, it's not a real prison." "Everything's fake." "But just to see people leaving in a simple way, it makes it possible." "We think we are in a real place." "He's a good actor." "I enjoyed working with this actor, from Corsica." "What do you do besides attacking cops?" "I didn't do a thing!" "Vocational training?" "Anything?" "I also remember there was the female guard in this scene." "It's difficult for me..." "During the editing, when I saw..." "In fact, in the French prisons, about half of the staff is female." "But when we show a female guard suddenly, it becomes unbelievable." "I was afraid of that." "The beginning of the movie is exactly like the script." " It was re-edited." " Yes, of course." "It was completely re-edited." "The beginning wasn't like that." " Do you understand?" " Yes, it was re-edited with Reyeb." "Because we can see Gérard and everything..." "The problem is, since we did an inversion while editing there are people here that we will see arriving in the courtyard later." "This is a workshop that we shot somewhere else, since we were on a set we built." "We found this workshop in Paris." "It's a sewing workshop." "Because there aren't any sewing workshops in the French prisons." "Boss!" "It's quite believable." "And later we discover the famous machine that sucks pants' legs up." "Yes, exactly." "The machine that turns cowboys upside down." "Here are the extras." "The extras here..." " The pelota." " Yes, the pelota." "The extras here..." "Most of the people living in this courtyard acting with us here, have spent some time in prison." "They know it, they know how to..." "What we are playing." "They know the violence in prison." "This man is a French rapper." "Very strange." "On that day, I was completely protected." "We can see it here." "Le Chimique, that's his name in the screenplay." "I saw him once on the set." "He was supposed to come back, he never did." "That was weird." "It happened sometimes on the set." "They were wonderful people." "I loved working with these people." "And sometimes, they disappeared." "They went back to their lives." "Oh, yeah." "We wondered a lot about the right moment for this scene." " And even about its relevance." " And its relevance." "Especially because it was written like a conspiracy organized..." " ...by the Corsicans." " By the Corsicans." " To test Malik." " Exactly." "It's all..." "All the beginning was..." "It's not that it isn't..." "It was in the script, but it was modified a lot during the editing." "I mean that the order was set during the final cut." "By Juliette Welfling, the editor." "Fade-out." "This is the end of the first part." "And here, it is as if..." " ...the fiction was starting now." " In the original script and on the set..." " ..." "Malik was arriving with these people." " With Reyeb." "So when we were editing the movie, we had to remove him to choose shots where we didn't see him." "We had this problem when Vettorri points to someone at the bar to know who he was pointing to." "And yes." "And here, Malik is on the side, but he has already been taken by the guards." "This is Niels Arestrup." "I like him and I had already worked with him." "Niels Arestrup isn't Corsican at all." "He is of Danish descent." "He's a stage and a movie actor." "A great actor." "What I like here..." "We were afraid when we shot it but there is no long shot of the prison nothing is..." "How can I say?" "Nothing is revealed." "We stay at the characters' level, the level of their eyes." "There is no long shot, from a crane or from a helicopter." "And people moving around are difficult to shoot." "To show the opening and closing of the doors." "We always have a door opening or closing." "We have to say our name." "The protocols are always important." "This scene enables..." "We discover the corruption." "This scene is an introduction to the corruption." "This is a corruption between Corsicans." "The..." "What's his name?" "The supervisor, this man here." " The chief warden is..." " Gosiani?" "No, what's his name?" "The chief warden is Corsican, and the criminal too." "The interesting point when we wrote this was that they both spoke Corsican." " They both speak Corsican." "Exactly." " It was..." " The complicity was obvious." " Evident." "And if he gets solitary we lose our chance." "Here's the gang." "The Corsican clan." "The Corsican clan." "They have one side of the courtyard." "The sunny side." "Al sol, like they say in a..." " In a bullfight?" " In a bullfight." "Gilles Cohen, with whom I already worked and who isn't Corsican either." "The bearded men, on the other side." "The Muslims." "Hit and run?" "We can't risk one of ours." "Keep your ears open." "We'll find a way." "It is obvious that what Niels says..." "This is a Corsican actor so he understands, but Niels doesn't..." "He learned his lines in phonetic." "Ah, Hichem." "Bread." "I did a lot of tests with the young man that gives the lunch." "Right." " Do you remember, Tom?" " Yes." "I wanted to work with him again." "We can see the details of the set." "It always amazes me." "The patina on the walls, the graffiti..." "There's always something to see." "It's not obvious, we have to pay attention." "It does exist and we don't need to emphasize it." "The shower scene." "It could maybe..." "It might be some kind of a shock in the American prisons, where I think the showers are clean." "Sometimes in France, it's disastrous." "It's very, very, very dirty." "And we see for the second time Malik's scars, on his back." "For a long time, we thought that everything we knew about his past..." " ...were these scars." " It was written on his body." "Ask for B. It's for us brothers." "Come closer." "I said come closer." "Want some hash?" "Yeah, hash." "Yes or no?" "Yeah, but..." "I have no money." "We'll work it out." "What do you mean?" "I'll bribe a guard and you come suck me." " What?" " Suck me off." "Fuck off, asshole!" "I should suck you?" "Motherfucker!" "Go fuck yourself!" "Shut your face!" "Faggot!" "A title." "We understood, when we were writing it..." "It was a big step for us." "...That the story couldn't be told in acts, it had to be told in episodes." "It was a great relief." "It's because of time in prison, it is very repetitive and because of the length of the movie." "Two and a half hours, it's very limited." "We knew it would be a long movie." "All this was shot at the end." "The part where Malik's head is shaved..." "Absolutely." "When his head is shaved it was shot at the end." "It was the fifteenth week or..." "And we had shot the moment when Malik's head is shaved." "Absolutely." "It's strange, but I don't remember when we shot this." "I do remember we modified the script, and how old the character was." "He was supposed to be 18 and we said:" " "No, 19."" " Nineteen." "This way." "And I remember in the script, he was more arrogant." "Yes." "We had to change it to make it credible." "It was him, he was a victim, and I think it's good." "Considering what they ask him, he can't show off." "Exactly." "They threaten him right away." " But he had to." " They threaten to kill him right away." "Yes." " You speak Arabic?" " Sure I do." "The guy in the shower yesterday..." "You know him?" "What did he want?" "He wanted to talk." "Don't look at me, I said." "I want you to keep it up." "Get close with him, make friends." "It's strange, because before starting to shoot a scene with a group of people we have an idea of the way it will be organized, but later..." "I think..." "We just let the people act and we shoot them." "You can handle it." "And I feel like we did it quickly." "Just remember one thing." "Now that you're in on it, if you don't kill him, I kill you." "These scenes are difficult to shoot because they are conventional." "Right?" "Yes, that threat here." "When we wrote this, I remember we changed it a lot to keep the emotional aspect..." "What we liked was the idea that Cesar knew everything." "He is omniscient, he knows about the proposal." "And then we just have to remove every possibility for Malik." " Every solution." "Absolutely." "I remember it was hard to play because we had to occupy the space without talking." "This, for example, when was that?" "Fourteenth or fifteenth week?" " Thirteenth?" " Fourteenth or so." "You already have the character figured out." "He's already put together." " At this point, yes." "Thankfully." " To do this..." "I couldn't have done it earlier." " It's strange to..." " I like the hesitation here." "We kept the shot with the hesitation." "And here..." "And there's this answer." "He needs to write it down but we don't know yet that he's illiterate." "Yes." "I have a problem." "Oh, yes." "I was obsessed with this idea that the plastic sticks to his face." " It worked." " It worked." "In fact, I remember that I really did this." "I thought it was the only way to reach the objective." " It was difficult to do it another way." " To suffocate." "We could have made a hole on the side." "It would have been..." "I remember it's the first terrifying moment." "You realize that you're in hell and there's no way out." "Not many solutions." "And at the same time we suppress every solution and we have to make it easier for him." "We make it obvious that murder is the solution." "Talk to him." "Act natural." "About your mother, visitors..." "Talk normally." "Cut here." "And that's a general rule for Malik." "Every time he has to do something..." "He needs to learn it." "Yes, and we will see him learning it." "Learning how to cut a throat, learning..." " Nothing is simple." " Learning to do a blowjob." "So it's okay for the hash." "Can't hear you!" "What bothered me here, I made a mistake, I should have remembered better the previous scene." "You should have been more traumatized." "Here you're playing it a little..." "A little too relaxed." "A little too calm." " Yes." " Do you understand?" "I was always..." "There was no shot that was..." "I made a mistake." "Yes." "People talk a lot about this sequence." "Because it's painful to watch." "We were right to..." "Look." "To shoot it." "To do it carefully." "That's right." "It's funny, people ask me if I had some training for that." "And I answered that the character was training, so we did it directly." "And here the blood..." "Because we decide that we are going to kill someone with a razor blade in his mouth, it could be a circus act, but no..." " I think it must be painful." " Yes." "I think so." "Everything here was written." "Yes, everything's literal." "He used the soft part of bread to dab his gums." "With bread." "It's realistic." "Here's the machine." "The machine that turns cowboys upside down." " Here it goes." " It drove me crazy." " It drove me crazy." " You bought one, you have one now." "There's something weird here, he puts them on inside..." " ...but he wears them normally." " Yes, well..." " It's not a training..." " it's not a training course on sewing." "I remember I couldn't understand the next scene." " Yes." " I was asking why he did that." "It's not in the..." "The purpose changed for this scene." " Yes." " I didn't understand." "The purpose was different." "At first, he did it to be put in the clink." " That's it, right?" " Yes." "Why else?" "At first for me, he was releasing his tension..." " ..." "like that." " Yes, that's what it was at first." "Then we wrote this scene here later, while we were shooting." " Later." "I remember it because we wanted a moment..." "It was important to show that Cesar was also a physical threat." "And it was a reminder of the constant violence from the Corsicans." " And here..." " They knew everything." "They were..." "They were omniscient." "This was a good way to give Cesar a physical strength." "It's his show of force, and he doesn't need to do it again." "Once and for all." "And it gave a different meaning to the fight in the workshop." "I like it here, when he screams, "Give me your blade." " Give me your blade, I'll kill him." - "I'll cut him."" "It's here." "You feel like he's going to kiss you, but..." "And smack." "He wasn't in the original screenplay." "No." "These are additional scenes." "Bitch!" "Piece of shit!" "Asshole!" "Stop it, Cesar!" "When there are violent scenes with Niels I'm always afraid he might get hurt." "Yes." " I loved the end of this scene." " The end of this scene." "He's going to bleed, so watch out." "Check the bottom of your shoes." "He can't run, he has to do it." "It's good not to have the reverse angle on the other one." "It's just him." "The effect on him." "The rest isn't important at this point." "It's just this." "It's just automatic movements." "Since the beginning, he's said fifteen words." "Malik." "Go on." "Good." "Here, I don't remember if it was exactly this..." "Did you use the dolly here?" "No." "No, I don't remember." "We did use the dolly." " No." " We did it twice." "Maybe a zoom." "It's the third shower scene." "If it's necessary..." "I remember at one point we edited it without..." "We didn't have this shot where he puts the blade in his mouth." "He went directly." "He went directly." "It wasn't good." "We had to..." "We needed to know that during all this, he has a blade in his mouth." "And he's not..." "I made the same mistake here." "He's not anxious enough." "He should be more anxious." "Well..." "It's not enough." "Come in." "I like what he does with the string to hold the door." "These things are real." "He knows how to shut a door." "You should never..." "This is realistic." "It gives a realistic aspect to the movie." "It was hard with Hichem on that day." "I remember that on that day you told me, "You need to give everything you have right away."" "It needs to be sexual right away." "And the guy holds him." "It's very hard to play this." "We need more tension very quickly." "Nothing goes as planned." "Want something?" "Water?" "Kawa?" "At this point, Malik can't hear him anymore." "When we wrote this, we had something complicated to do we wanted it to be nice." "But he's also a prisoner and a tough guy." "He's a sex offender and a tough guy." "It's difficult to have someone that represents all of this." "It's funny." "I feel that sometimes, I didn't give you enough..." "Here it is..." "It's not enough..." " Okay." " Sometimes, you're not enough..." "In this scene and the previous one you're not focused enough on the murder." "I didn't push you enough towards that anguish." " Precisely..." " From this moment on, it's good." "You have everything." "The fear the anguish and the..." "And the emotion." "Especially the emotion." "In this scene, the words were replaced by emotions." "It's more..." "But it's perfect." "I see you in the yard." "Always by yourself." "Always in the same clothes." "I thought that maybe he didn't want to kill him anymore." " He won't be able..." " There was a great shot..." "We didn't choose it for a reason I don't remember but there was a tear going down your cheek." "Shut your fucking trap!" "You Okay?" "Are you okay?" "If we hadn't seen the blood spitting the effect was..." "Right?" "Without the training at the sink." "That's what it was for." "That's crazy, there's a special effect guy down here." "'Yes?" " And bang'" " He throws it." " He's hiding there." "He is..." " it's disgusting." " Yes, it is." "We..." "It wasn't..." "I always thought that if we had to make T-shirts for the movie, it would be this." " Make what?" " T-shirts." " It would be with this." " With the blood." "A white shirt, with blood spatters and A Prophet written on it." "It's good to think about merchandising at this moment." "We did a long shot here." "Did we see it?" " Yes, this one." " It was an 18, I think." "It's almost too much." "It gives an impression." "Compared to the movie." "Everything's a little over the top here." "There's a lot of blood, it squirts everywhere." "There was the startling moment." "It's not here anymore." " The gurgling." " It was a real farce." "The sound from Reyeb's pipes." "The start." "We couldn't leave any trace of it." "Clean the shirt." "It was difficult to imagine the sounds that we couldn't hear when we were shooting this." " To imagine all these sounds." " It's always..." " It was quite continuous." " Yes." "Except that we were in the courtyard..." "He couldn't leave fingerprints." "But here..." " But here..." " The glass." "Yes." "Here we were..." "When people die in prison, the prisoners often demonstrate." "That's what they're doing here." "This is..." "When she was editing Juliette found the solutions for a problem we had and that she had to solve in every version of the screenplay." "We were at a climax..." "We were at a climax after 25 minutes and we had to do an ellipsis and the plot had to start again." "And..." "Juliette found the solution." "When writing..." "No, when editing..." "We couldn't find it when we wrote the script." "But it happened..." "We always have this problem, we write too much and the cinema goes much faster than the writing." "But if we didn't do this, we wouldn't be comfortable." "That's right." "But I wasn't shooting..." "Beautiful lighting here, from Stéphane Fontaine." "It's my favorite scene." "It's..." "You didn't want me to look at the guy here, I had to avoid his eyes." "Right." "We wrote that you were embarrassed." "Embarrassed." "Someone who reluctantly follows Reyeb's advice." "Reluctantly." "For the actor here, with Malik, it's his real job." "He's an instructor in prison." " He's good." " He's very good." "He nailed it." "It's strange, with people that never acted before." "We never know if we can make it." "I wasn't with them." "Which did you speak first?" "And Alexandre's music here again." "Where was your school?" "The juvenile center." "There's a word with an but it's not pronounced." "The fourth word." "The music we can hear now comes from my previous movie The Beat That My Heart Skipped." ""Canard."" "This word contains two syllables." ""Ca nard."" "Repeat it for me, separating both syllables." "Great." "It's weird that we thought about this when we were writing." "Even in the first version." "Duck." "It was the end of the first part." " The first appearance here." " Yes, the first appearance of..." "With this anguish about identifying..." "Are we going to clearly identify the man that Malik killed?" "Are we going to understand that it's a hallucination?" "Will the audience be able to follow us?" "The idea of inserting the dream directly..." "The dream is the last shot of the movie." "Exactly." "It was the last shot." "I was troubled by the roughness of the murder scene so I wanted to create another version of it at about five frames per second." "And there was a shot just before that and I thought it was the end, but no..." " We have to do this." " Until the end." "I remember." "When I watched the movie for the first time I thought it was so clever to create this ellipsis." "He was fighting with him for a year, and it's all over with a dream." "That's it." "I like the fork." "And the shining teeth." "It's very..." "The lighting is..." "And the music." "I remember when we were editing..." "What am I saying?" "When we wrote this, the title said "20 years."" " At the beginning." " It was Malik's age, and we realized when we were editing the movie..." " It was a lot more efficient this way." " Exactly." " There's..." " We can also imagine a rebirth." "Juliette Welfling did a great job editing this sequence." "With our fake snow, on a set." "Fake snow, fake prison." "I remember on that day off-camera the extras drove the Corsicans crazy..." " ...throwing..." "Do you remember?" " Throwing snowballs at them." "Foued Nassah was so mad." " He gave..." " Foued was..." "Now Malik is going to look like that for the rest of the movie." " Right." " Yes." "Aren't you ashamed?" "The Muslims are maintaining order." "In the script, it was more literary." "It was more formal." "What I like here is that it becomes a bit of a mess." "I always wondered if the script was clear, but it doesn't matter." "No, it's just said." "Yes, that's it." "These fucking Arabs!" "At least dogs fuck in silence." "Vettorri gives an important realistic aspect to it." "He gives such a Corsican aspect." "I like this." "Your face here, with your small mustache." "How much in francs?" "Here we take..." "We take..." "The scriptwriters take a risk here." "But everything goes well." "Turning Malik into a servant." "But a man who killed another man in prison in France or not, he becomes an idol." " He's untouchable." " He is respected." "Yes, he is respected." "It's incompatible with him serving coffee." "There's something odd for me." "When the Corsican explodes Cesar is surprised." "You done?" "Get out." "Why do we feel that he's shocked?" "Cesar?" "I don't think he's shocked." "He just doesn't want to have any problem with his gang." "Because of you." "Of Malik." "He's not going to get involved..." "But it's interesting because it means that he's not that important to him." "It's the same thing." "We always wonder if the audience will understand that you were in the corner of the closet." "On that day, you came to me and you told me, "Here's a Corsican book, a dictionary find some sentences, do something."" "When we were writing..." "And by accident, I found this." "A thing..." "Something crooked in this book." "I remember..." "It was that." "When we opened the dictionary the first word was extortion..." " To inundate a market..." " ...with products, the second..." " Right." "...was to assault." "Extortion of money, I think." "It was always like that." "Raccia..." "It's always the same thing, we need to see Malik..." "We see him learning." "Yes, and when you were looking for a word..." "I think he was already sorting out what was necessary or not." "For example he doesn't care about the verb "to bark." He learns what's important." "It's interesting to hear how much the music is not in sync with the movie." "Electricity is like water in a circuit." "Whatever the size of the pipe the flow rate is constant." "Same here." "This man is also a teacher." "He works in prisons." "The arrival of Ryad's friend." "You really need to speak French unfortunately, to understand this to understand why it's funny." ""We ate."" "Good job. "We ate" is the past." "Now try the subjunctive." ""Would..." "I remember during the first screening people had been nervous since Reyeb's death and here, everybody laughed." "That scene here is mainly a result of the rehearsals." "It's half what was written and half improvised." "No matter what line Adel has it will be different in the end." " It was frustrating." " Yes, but at the same time..." "He is amazing." "This is what I wrote..." "I wrote sequences that are not in the movie, for the rehearsals to preserve the script." "But sometimes I try to include them in the movie at the end." "Your own dog?" "But he was crazy." "Tyson was a psycho." "He's insane." "Mike Tyson was insane." "He's hilarious." "I take out my mace, spray him." "He lets go." "I run out, scared shitless." "What do I do?" "I leave him inside." "Soon the employees start coming." "I didn't know they used a back door to go inside." "The hound had a field day." "He's such a great actor." "Right?" " It's beautiful." " The light is amazing." " The light is really amazing." " We are in complete self-satisfaction." "We love this movie." "You already bought the DVD, unfortunately." " Buy it for your friends." " This scene was enlightening." "I was dreading this scene." "There were a lot of extras and a problem..." "It's a corridor so we had trouble with the sound." "It was..." "Who's the Pig?" "I just needed to start this." "It's not easy to explain but on that day, I realized that for the prison to look real I had to animate the background first." "You're being disrespectful." "El Djebena!" "Tell your boss there's a new hack to meet." "Got the papers?" "They're not in yet." "I got the laundry." "Make coffee." "For everyone?" "Did you see Ilbanez?" "He'll come by later with the new hack." "Without really noticing it, time goes by in this story." "We establish the duration." "This is a reproduction of a real picture I saw." "This is a scene..." "I don't remember." "Was it in the script?" "Yes, it was." "Even twice." " Twice?" "Yes, you're right." " It was written twice." "Homeland Security announced that Corsicans will serve prison time closer to home." "The ruling was made public today the culmination of the reshuffling, advocated by Nicolas Sarkozy..." "Maybe we should explain what the Corsican gathering is." "Tom." "This is a realistic aspect." "Corsicans are considered political prisoners and in France the government is always negotiating with the Corsican parliament." "In the beginning of the 21st century they made an agreement that the Corsican prisoners who did not murder anyone could..." "How can I say this?" " Benefit." " They could do their time on the island, in Corsican prisons." "They were all gathered but the murderers..." "We should also explain something for the American viewer that doesn't exactly know what France is, Corsica is an island." "An island in the south, about 130 or 180 miles from the coast." "For a long time, it belonged to Italy." "Napoléon was born in Corsica." "It might be helpful." "When we wrote this, it was already a programmatic sentence for Cesar." "He is told that..." "He says, "I'm going to die alone here."" "And it's actually what's going to happen." "The story of a man who ends up alone." "You're not alone." "You carry weight outside." "This is a great transition." "And it mirrors Malik's first vision, when he looked elsewhere while..." "While they were talking." "I couldn't do this scene." "I think it's not working." "I don't like it." "And we had to direct the background..." "That scene was hard." "We had to direct the background, the extras, and then the actors." "And everything that is going on here, people coming and going it looks alive." "What do you got?" "Testicle cancer." "The idea of the cancer came up when we were writing the screenplay." "We knew it's almost a cliché that the friend is going to die." "It will be a tragic end for him." "But we didn't want it to be." "To do like in The Godfather where his death is programmed." "The hero has to choose between his friend's death and his freedom." "The idea of Ryad having cancer allowed us to do that, to avoid the over dramatization." "Cancer!" " This is improvised." " Yes, I remember." " We did this again and again." " Yes, twice." " Three times?" "Before going back..." " Yes, I think so." "We tried elsewhere." "And we came back to the first version." "I was terrorized, I couldn't do it." "It drove me crazy." "This is the Corsican gathering, we can see the scriptwriter here." "Just here." "If you want to know what a scriptwriter looks like..." " ...there he is." " That's him." "It's the man in the back, a bit stout." "He doesn't look like he can write." "This is the Corsican song." "Here it is." "There's a lot of work..." "I don't know why I say this now, because there's some depth there's an incredible work on the sound from the sound engineer, Brigitte Taillandier." "There it is." "The story starts here." "The story between Cesar and Malik El Djebena starts with this scene here." "You keep the phone on you?" "Why not leave it with someone else?" "I speak Corsican." "I speak your language." "I'm almost happy to tell him." "When I was on the phone..." "And he plays..." "He's always like that." " Right." " You never know." "But in this scene, it was written like that." "You don't know if he's going to leave, how he's going to react." "What is really performed here, by Tahar..." " Absolutely." " In the script, the character was more calculating." "Calculating what he could get from this." "But being naive is good." "So why tell me?" "Because the others left?" "Look at me, you Arab!" "Because the others left?" " Right?" " Yeah." "Does anyone else know?" "This was good." "Without any Stuntman." " Right." " Just the reverse angle." " It's good." "Yes." " With some makeup on." "You keep it now." "Hold onto it but don't use it." "That's the thing with Cesar." "When he's nice, you need to be careful, and here he slaps him but it's going to degenerate but it starts with a slap." "Ilbanez will transfer you to the cell next door." "I'll have you made porter." "In French prisons, the auxi are the prisoners who have a job." "They are in a special situation." "And that's what Cesar is interested in." "They can move around the prison because they are the cleaning crew." "They are community workers inside the prison." "Usually, they are very poor." "They don't have any money from the outside." " Right." " A life change." "Here, the music starts." "And I really love the smile that Tahar/Malik has here." "He discovers television." "Exactly." "Here we can see a very poor guy who finally has a fridge, a television..." "He adapts himself." "It's just like a hotel for him." "And it pays off for the first time." "This is a high school's prison in Paris." "It's my daughter's high school." "Maurice Ravel." "And these guys cook for my daughter every day." "Now he discovers the routine." "That's incredible." "At this point, I was so happy to shoot that." "And we can feel it." "This wasn't the original box." "It was..." "What was it?" "It's sort of abstract." "This is an improvised fight." "And now we can see his work as a spy." "Malik's work as a spy." " He's a spy for Cesar." " Yes, for Cesar." "Cesar doesn't trust anyone, not even his own clan." "No news." "Nothing." "And here, Malik speaks Corsican and the others don't know it." "The scene in which they play cards was developed in the script." "I remember that the Corsicans were cheating in Corsican and Malik understood." "And he was winning." "It was great." "The courtyard is great." "It's great." "The extras were great, we could improvise with them." "They are always moving." "The background is moving." "They are free, so to speak." "Activity." "With a television there's a lot of comfort." "We can see Malik's progress..." " ...when he wants a cell..." " It's just to get a TV." "He wants his own cell and..." "Then he asks for a TV and for girls." "And then for friends." "Here's a good illustration of the way the movie is divided." "It allows us to add another character." "For example, Jordi here, we can introduce him very unexpectedly." " Outside of the chronology." " Right." "It's obvious that he's known Jordi for a long time, in prison." "But we start a new chapter about his relationship with him." "It was difficult to write." "It was hard to step out of the chronology." " No." " Yes, you asked us to improvise." " It wasn't written." " No, I don't remember." "It's the other script." "It was on the other script." "I don't understand your game." " No game." " You work with the Corsicans." "I work for myself." "It was this." "I only work for me." "And it was, "I don't want any trouble with the Corsicans."" "That's what we needed to understand." "And we understand everything." "This is Jordi when he's high." "Reda Kateb." "This is Reda Kateb." "In the background, we can hear a blues singer, Jessie Mae Hemphill." "I saw her a very long time ago in Chicago." "We can see Jordi's role here as a teacher for Malik." "It's sex, drugs and rock 'n' roll." "Rock 'n' roll and blues." "He teaches him music and sex." "He talks about sex." "And drugs too." "It's like this." "You can't see anything behind it." "I don't understand." " It's when..." " It's the phone." "The phone rings." "It's vibrating." "It's vibrating in the mattress." "Our memory is fallible." "He's carrying the phone now." "It shows that he's confident, but carrying a phone in a French prison means that if he's searched and they find the phone, he goes..." " He goes..." " Phones are forbidden." "Phones are forbidden, and he goes directly to solitary for 15 days." "We can see here how the yo-yo works." "We were lucky, it worked the first time." "Yes, but I changed everything since I used a periscopic effect with a mirror." "Otherwise I couldn't see it." " We change..." " Yes, you couldn't do..." "Now he can hear Cesar's fury on the other side." "We know there's a problem." "It was developed in the screenplay and..." "It was shortened." "Absolutely." "During the final cut." "There was a problem with Pilicci's brother that was revealed when they were playing cards." "It was quite a long resolution." "In this shot, Niels looks different." "I love it." "The actor doesn't look like himself." "Still need me?" "You know about my business?" " You said to butt out." " Come on..." "I don't know." "Stuff with Italians." "Casinos in the south." "Niels' eyes here, it's crazy." "Three years." "Minus good behavior." "It was difficult to describe how they could be released on parole or obtain a furlough." "I can feel that you're not comfortable here, Tahar." "No, because there was a problem..." "The dialogue had been modified at the last minute because of a confusion with the name..." "I don't remember." "And I was thinking too much, or not enough, about my lines." "What you can't really get..." "You're a bit off here." "You don't really know where you stand when Cesar's power..." " With his suggestion." " With his suggestion." "By the time the judge gets it, studies it requests additional information you won't have an answer for five or six months." "This is a new demonstration of Cesar's power." "He can speed up the procedure." "Give it here." "He was always..." "The actor playing the lawyer was always anxious and worried." "It was hard." "It was hard to..." "That man was scared." "He was nervous." "Especially for the first scene." " Yes, it was..." " I remember it." "When you changed your tone, he changed his tone too." "Yes, exactly." "He was doing the same thing." "Who's he?" "Who are these guys?" "These thugs?" "You didn't say it was like this." "You know what may happen to me?" "Disbarment!" "I don't need that." "Too late." "You're in." "Stéphane's work here is amazing." "I had already worked with him." "It's my second movie with Stéphane Fontaine." "He progressed a lot in framing." "We always have these difficult movements." "Salam." "It was great getting your letter." "First, I hear from you." "We had a lot of different versions of this letter." "Is it because...?" "The voice-over didn't really match the movie's style." "We had recorded it when I was the one reading it." "Yes, we tried everything." "You were reading it..." "During the final cut, Jacques was reading it." "Yes, it wasn't the best version." "Originally, we had a scene in the visiting room between Adel..." "Between Ryad and..." " And Malik." " And Malik, yes." "It was incredible." " With pictures." " It was hard to cut." "I loved it." "It was very hard to cut." "A lot of people asked if this was in jail or somewhere else." "No, we can remember..." "I love Adel's smile." "Careful, put your hand under his head." "This is all about time passing by." "We were wondering how we could show the six years that Malik spent in jail where everything is so regular." "And we didn't know if we would edit a scene with music or use a voice-over." " It's beautiful here, with the child..." " Yes." "The character's fate is also sealed here, discreetly." "He's the guy who fixes the Imam's cars." "He's hired other guys from center." "Know what you're doing for them?" "You don't mind?" "I get out, get paid." "If it's too risky for you now, just say so." "All the shots were great for this scene." "At one point, the child was crying." "It was very realistic and the actors adapted themselves to the baby." "He was a great actor." "All of a sudden the car breaks down." "We had several versions of this too." "We needed movements." "For this shot..." "We used the dolly twice." "This is the first time." "Right." " He's great here." " He's great." "I remember we were improvising after that." "I don't remember who did the music here." " Wasn't it Sigur?" " No." "Ah, Sigur Ros." "You're right." "Sigur Rós reorchestrated this." "It wasn't as good as the original one." " I loved the way he ran." " Right." "We always have the camera moving from left to right, as if we were reading." "You know what I want." "We're in business." "Don't you smoke my hash every day?" "So I go in the hole for your swag?" "Just for a few joints?" "Goddamn it!" ""Look at me." This is Malik's first demonstration of power." ""Look at me." And then he left." "The judge here is in fact my assistant." "The first assistant director." "This man is a famous French lawyer." "But he can't stay out over 12 hours and must sign in at a local precinct." "I think that on this day, we had a text when I arrived..." " Was it modified?" " No, 30 seconds before shooting you brought me this and you said, "You're going to say this now."" "I had to react right away." "I had to play the nice guy." "You leave at 7 a.m. and must be back at 7 p.m." "No, it's not this scene." "We're about to see the ghost for the second time." " Right?" " No, the third time." "And the bed..." "This was done..." "The reaction is great here." "We did this as if they were living together." "Like roommates." "This was done..." "This room here is in a real prison in France." "The Hauts de Seine's prison." "In Nanterre." "We were outside here, so we needed a location." "The room here..." "The prison allowed us to shoot there." "Thank you." "For this part, when we were writing and editing this, even when we shot it it was hard to see him outside the prison for the first time." "There are two things here as usual I was a little febrile, and rapid..." "The light is wonderful." "The light is wonderful and it was the cold the breathing and the birds singing." "Yes, the breathing." "It was hard to do." "Not to overdo it." "I slowed everything down for this." "I like it." "We have the main theme again." "It reminds me of Aaron Copland's music." "I don't remember..." "It's "The Appalachian."" "Right." "This focus here is beautiful." "All the details..." "The outside." "The focus is far away." "What Malik sees." "It's strange, that's what I wanted that day." "The sun was shining and I wanted to split the image in two." "For the day?" "Until 7." "And we have this music again, quite lyrical and perfect for these simple and mundane scenes." "The weather was awful almost every day." "A lot of rain and clouds." "These are the trains coming from the suburbs." "How's Cesar?" "This is..." "Right." ""Yesterday it was fine."" "It was so hard." "We had to do this many times." "The line was never good enough for you." " But I didn't know how to say it." " I forgot." "I remember this." "The man interpreting the lawyer here is not an actor, he's a writer." " His name is Pierre Leccia." " He's Corsican." "Yes, and I like him a lot." "I think he's a good actor." "But he's not an actor." "He looks good." "It's the same irony." "He understands but the others are not aware of it." "This shot is quite common but I really enjoyed it." "A transition like the ones in TV shows." "There, on the right." "Here, here." "On the right." "I liked this journey in Montreuil and..." "To end up here." "The way the issue was dramatized." "The birds, the sun..." "We had two different universes." "In prison it was regular, but here it's fast." "In just two minutes a lot of things happen." "And:" "The idea here was to see everything through Malik's eyes." "Who are you?" "As much as possible." "He can only see shoes, guns in hands..." "He can't see their faces." "You work for those scumbags?" "He can see espadrilles." "These are the same espadrilles..." " ...that we can see in Marseilles." " Right." "Right." "It's the espadrilles' gang." "Can I go now?" "Forgetting something?" "Don't you know about the swap?" "Let's get going" "This prisoner, this hostage that is handed over to Malik is Santi a character we already saw in prison." "He gives him a cigarette when he met the Corsicans." "We were wondering if we could recognize him." " And the answer is..." " We don't recognize him." "Call Cesar..." "You have to call Cesar." "We wanted to make it difficult for Malik when he's out." "At the right time." "It's me." "I've got a problem." "I'm not alone." "I'm with Santi." "Rue de Madrid." "They're waiting." ""Rue de Madrid." It's in the second district in Paris." "It's completely random." "We may be working together again." "He doesn't want to give me the money." "It's funny." "It was Leccia's idea, no?" "Was it yours?" "No." "He forgets to give him the money." "Like you said." "It gives him a skinflint aspect." ""You owe me something."" "I thought I had read many novels..." "Do people understand all this?" "Do they understand that he's in a taxi?" "It's something that makes me want to cut my fingers." "But it's weird, I just can't help it." "This version was a little more..." "It's beautiful because it looks transparent." "We don't care whether it's a taxi or not." "Yes." "We end up seeing it, of course." "All this is too much of a presentation." "Here, one wonders why he doesn't close the toilet door." "In order to recover 40 pounds of hashish." " I wish I had realized how heavy..." " Absolutely." "But I told you so, didn't I?" " I must have forgotten it, because..." " Absolutely." " When the parcel falls..." " Yes, it falls." "I should be bent under a heavy load." "But I think I told you so." "Anyway..." "Maybe you gained muscle in prison and you became very strong." "The man deprived of consumption returns to the world of consumption." "And he freely wanders in a gas station with 40 pounds of hashish on him." " How much is there?" " Twenty-five kilos." "There's this too." " I struggled with these lines." " Me too." " We had to explain..." "It was..." " Tough to deal with the explanation and the situation in itself that had to be handled." "I had to show authority in order to deliver these lines..." "Yes, it's the first time you do this, and..." "You easily fall into a monochord tone." "Authority on your side and surprise for your mate who struggles a lot." "And then we had to explain it all, which was fully done." "Yes, it was." "Many times." "I shot this in three or four different ways during the same night." "Absolutely." " I remember the tollbooth..." " Exactly." "In the end, it was perhaps the best solution..." "Well, the solution would have been to find out what was truly at stake." "But here, we come up with something that looks quite lively." "Wire some to my Commissary account." "For the rest we'll see." " What time is it?" " 6:45." "Let me tell you something." "Let me tell you." "Come out whenever you want!" "El Djebena, Malik." "35-114T." " Was it for training?" " Auto repair." " You like car repair?" " Yeah, whatever." "I'm rehabilitating." "We had to..." "Cough." "Sampiero said I might do it again." "What do you think?" "It's cool." "You see?" "Who did you see besides Sampiero?" "My friend." "The one who got me the job." "Is there a problem?" "It was fun to set up this little ballet these little moves within..." "Not even 100, but 30 square feet now." "And this idea that I keep playing the part of the Arab." "Names in the upper right-hand corner and fold it backwards." "Do this." "Turner Cody." "The title "Economics" came during the writing." "Frozen food." "Buddy!" "I heard from your mother." "Here, we didn't manage to get the right smile..." " ...do you remember?" " Not really." "Here." " The smile?" " Yes." " Oh, here." " A special smile I never managed..." " ...to make." " It's not bad, I quite like it." "The half-cigarette thing..." "The half cigarette was..." "Tell us what it was." "In the script, he had ordered all the objects that he had seen..." "In the superstore." "There's a girl that he saw at the gas station." "This is fun." " Here it's another easy scene." " Yes." "I remember how hard it was." "In the script, there is a girl that Malik has to fuck." "But here, there are three of us." " Three different ones." " I knew you would enjoy it." "A soon as I can please my actor..." " This is wonderful." " It's good." "It's really funny." "Am I crazy or do they keep multiplying?" "I liked the way this scene started, with Cesar saying that he was having fun." "There was no aggression, it was just a remark." "If they stopped thinking with their balls..." "The way Cesar keeps provoking him..." "Maybe out of boredom..." " Yes, out of boredom." " He's always provocative." "When there is a lack of entertainment." "Yes." "What do you mean?" "You want me to go get beat up?" "Why would they beat you up?" "Are you crazy?" "For them I'm Corsican." "He plays it with such gravity." "And he has some sort of pig snufﬂe:" "This is..." "Send a few hacks there." "To mess with them." "They'll eat out of your hand." "Thattaboy." "He's too good." "Just another Arab thinking with his balls." "Yes, this was..." "Okay" " This is Marbella." " Yes." "Okay" "At this point in the film, it had a lot to do with order." "Yes, and even..." "YOU ONLY LIVE TWICE" "Let me introduce you to some friends." "Marbella, man!" " This is Khalid!" " Yo, bro!" "I remember that I imagined the scene differently." "In the beginning, I played it as if he was unhappy to see this." "Yes." "I remember we discussed this a lot." "Is he shocked by this, or does he think that he's becoming stupid?" "Yeah." "We will encounter this theme again later." "And here, Cesar masterminds a plan." "He orchestrates the plan that Malik imagined." "Poor table." "Don't you think it might be good to send in a couple high-strung guys?" "This scene was rewritten during the shooting." " And I quite like it." " Yes, it's good." "He plays it very well, and the other one too." "He's very good too." "What he's about to do here..." "This, here." "What kind of difference?" "I can't do for five what I did for 20." "So why the hell are you here?" "Want a transfer?" "I'll tell Marcaggi." " I'll be okay." " You'll what?" "I'll manage." "I'll see what..." "You'll manage?" "Use your head." "Tomorrow tell me what you can do for me." "This thing with the hand." "We have a problem, brother." "This is the apparition of the gang of the "bearded ones."" "That's it." "I don't get it." "It was difficult for this actor in the beginning, because he had no film experience." "He was scared." "It was..." "But in the end, he played it very accurately." "This is very funny." "What can I get out of it?" "Respect." "Do I look Corsican?" "Are you getting a big head?" "And here, Malik plays a double game, or even a triple game." "We saw him playing a double game with the Corsicans, and now he starts doing this with the Muslims." "Luciani." "You meet here now?" "It's heated." "It's cozy." "Nice ocean view." " Sit down." " I'm fine here." "What do you want?" "I have a problem in Marseille." "One of yours." "Brahim Lattrache." "I want a message delivered to him." "Tell him Luciani will talk one on one, okay?" "I'll see." "What about the hacks?" "I'll see." "Brahim Lattrache in Marseille." "Here, this is a line intended for the audience:" ""Remember Brahim Lattrache from Marseille."" "He'll turn around and start over." "Gérard didn't finish shooting, he went back to prison." "See the small one with the beanie?" "He'll do push-ups." "This is the first time that Reyeb speaks since his imprisonment." "Absolutely." "We asked ourselves many questions during the writing and the shooting process, about how to use the ghost." "How much can he interfere with Malik's business?" " We didn't want him to help Malik..." " Does he have special powers?" "We decided that he had special powers, but didn't want him to utilize them in order to help Malik in his business." "On the contrary, he would rather ask questions." "For instance, about the snow." "We always wanted this to evolve and end in a poetic way." "Even though we don't like this word." "Yes, but we didn't want this to be practical." "Didn't we have a burn-in for the snow?" " No, there's a burn-in..." " In the script." "In the script." "There was a burn-in for the snow." " There was one." " In the script." "Yes, in the script." "Okay!" "At some point, the answer to the question "what do you see?"..." " ...was "snow and cold."" " Snow and cold." "Yeah." "Took him along with the hash." "Now they want money." "Who are these guys?" "What do you know?" "It was better to play this scene without looking at the guy." "We did it in all different ways." "They use the same route, know the lowdown." "It had to be a panoramic shot, instead of a shot-countershot." "It must move laterally here." "Sir!" "We could better feel how much you're listening to him." "Calm down!" "It's crowded here and we got hash." "If someone knows the Egyptian we'll hear about it, don't worry." "When we find him, it'll hurt!" " And the Muslims?" " Coming along." "Go see them and take care of it." "Niels sees everything." "I have a favor to ask." "What is it?" "I need info on someone." " Who?" " A black." "Latif the Egyptian." "That was crazy." "What can I do?" "Tell me who he knows in here." "His brother-in-law." "What was the trade-off?" "Usually, in gangster movies, you see the rise and fall but in this film, there is only the rise." " The rise and rise." " The rise and rise." "So there is only one..." "There's one moment when he has a hard time but he easily solves the problem." "He looks for someone who could help him and finds him in prison." "Here, the screenwriters wanted to show that at some point the worlds inside and outside the prison are the same." "From inside the prison, he was able to exercise his power and influence the outside world." "Exactly." "And this communication between the inside and the outside happens here through the phone." "They take the picture outside and use it inside." "Sir!" "It's his ankle." "He has to see a doctor." "Strangely enough, this picture on the cell phone appeared in the American trailer." "Really?" "I like the fact that the music disappears when the violence appears." "This passage is very well done and well edited." "It shows how the trio gets back together, while pushing the trolley." "Everything is..." " ...told in a very effective way." " It was written and shot like that." " Yes." " There is no..." "The previous versions were much shorter and more elliptic." "But I insisted on having the trolley instead of a Usual Suspects kind of shot." "Exactly, but at the same time, it is very effective." "Is Ouassila Gazil your mother?" "It's her address on the visitor list?" "Here, the violence comes back..." " Absolutely." " ...with the shower scene." "Tell Latif I want my friend and my stuff back." "Call." "What I like about Malik is that his relationship to violence is not..." "He isn't a psychopath." "And here..." " In comparison with Cesar." " In comparison with Cesar." "And here he will show us something." "This is what we said about Cesar." "One should distrust him when he is being nice." "Right now, we don't know what he will do in the next ten seconds." "He is a long shot." "Here, it was..." "It was fine during the day with Niels." "It's later that things turned wrong." "You want your share?" "It's your business." "It concerns you." " How do you get it in?" " Visiting rooms, kitchens." "So you got guards." "A delivery guy." "Frozen goods." "So that's how it works." " Here, Malik is doing very well..." " Yeah, it's good." "He's really deep into the conversation." "Both of them are playing well here." "This is very pleasant." " I'm sorry, Tahar." " I..." "I remember that Niels was afraid to hurt me." "It's normal since, here again, we didn't have a stuntman." "This is a real spoon and a real eye." "What do you want...?" "Niels is being very skillful and accurate." "If you don't, then what good are you?" "He has many lines to deliver while he uses the teaspoon." "Get lost!" "Head butt." "Bastard!" "This passage of the film is very important because here Malik realizes how powerful he is and how vital it is for him to..." " ...to use his power." " And also, how weak he is, because..." " He truly must increase his power." " ...he realizes that he is vulnerable." "Here I had a hard time with Niels." "We kind of..." "We were tired and we had a little row." "First of all, this scene had been written as a dialogue." "And then, I remember seeing the..." " It didn't work." " No." "It was a direct continuation of the previous scene and when I saw the..." " The rushes." " The rushes, yes, I was very impressed, because two out of the four takes were great." "This one and the one without the Mano Negra effect." "Niels was great." "He talked to me about a trip to Sevilla, but didn't mention this moment." "He told me, "I'm afraid that Jacques misunderstood it whereas it was part of my acting." "In this scene I had to become really angry."" "I said, "In the rushes, we saw you yell at Jacques."" "He replied, "Yes, but I was preparing for the part and invested in the role."" " And voila!" " That's the explanation." "Six months later..." "He told me he had become tired of acting during the last 20 years." " That's another thing." " He only wished..." " He could yell at a director." " So he was tired and just wanted to get angry at the director." "It's very simple." " Here, this is the dream sequence." " The dream." "We..." " We edited this dream a lot." " Yeah." "The screenwriter made a model with his cell phone, and we never got better." "We did a lot of research, but these images are beautiful." " The music is great too." " Yes." "This scene created a posteriori in order to prepare for the accident that happens two reels later." "We talked a lot about its place in the story." " You mean in the editing structure?" " Yes." " But not in the script." " No." "Here, this is something..." "Are you here?" "This is a very old story." "An idea I had for a previous film." "A character called Georges was on fire." "It was in the back-story of..." " Read My Lips." " Read My Lips." "Was it the...?" " This guy..." " No, at that time, it was a girl who..." "She went home and faced a ghost who would go on fire when angry." " In Read My Lips?" " Yeah, but it's..." "It's a very ancient story." "The little plane that announces..." "Yes, one is bound to hesitate beforehand." "Isn't this enough?" "I love what Cesar says." "As if they weren't bored already." "The little reflectors were some DIY stuff that was built two minutes before filming." "It was the two minutes of sunshine we had in this movie." "The Corsicans get a suntan in jail." "There's a flight at 9 a.m. Return at 3." "There, you'll meet Brahim Lattrache." "This is the scene where they reconcile after the teaspoon moment." " Yeah, they sulked at each other." " Time went by..." "It was an issue when editing the film:" "Could we have this ellipsis?" "After what he's done to him will he be ready to talk to him again?" "As for your pay and your trip Sampiero will Contact your pal outside." "Ever taken a plane?" "He had to be a little happy at least." "We see the transformation of Malik." "Into the perfect son-in-law." "Into Jean-Pierre Malik." "Jean-Pierre Tahar." " Jean-Pierre Tahar." " Jean-Pierre Tahar." "The invention of the photo booth." "It's funny." "But it's hard to translate." "Have a nice day, Truette." "Have a nice day, El Djebena." "Good day, sir." "Open Up, please." " Here, we cut away many things." " Yeah." "The outing..." "There were too many preambles." "In one of the versions, the car was already there." " All this was weird." " I don't remember very well." "No, it was during the first outing, when he was surprised to see Ryad." "There's always been this waiting time but during the editing, we changed many things about the arrival of..." " He was looking for Ryad in vain." " Ryad." "And trying his home." "It was the first time we introduced Leïla's character." "This car is bullshit!" "Fucking patrol bait!" "I remember that I had a hard time figuring out the thought process during the lines about the car." "Here, we used the energy of your anger." "And we chose the version where you're the most furious." "We also wanted to show that things were getting worse for Ryad." "Hence the gun." "Yes, the atmosphere is tense." "And we wanted Ryad's face to show the marks of..." " ...his kidnapping." " His kidnapping." "I'll find him and waste his ass." "You'll waste no one." "Wake up." "Business has stalled." "These lines were difficult to write, because they explain a lot and..." "And then, we also have the difficulty of shooting inside a car." "It's always a problem." "He's very good here." "Each time I walked out of the prison, it was enjoyable." "I was happy to get out of there." "Another enjoyable thing here is the irony of this character." "We push him as far as possible..." "We expose him to as much danger as possible." "And everything that reminds us of the prison like, for instance, this search scene." "All this is very enjoyable." "It's like a harvest." "We're reaping the most of what the character has to offer." "A reflex action." "I like this moment." "You're wonderful here." "It's as if you were harvesting again." "His ambitions are made of simple and youthful pleasures." " And gifts." " Yes, gifts." "You have the two croissants, here." "He's sitting next to the window, and then..." "But it doesn't matter." "The second croissant." "And the costumes too." "The fact that he dresses like a businessman..." " ...but it's not like it at all." " Yes." "It doesn't fit." "There is a slight haircut problem." " Yes, left or right." " Yeah." "And here we have the De Niro moment." "Coming next..." " No." " But at the same time..." "Who?" "Are you talking to me?" "You're..." " Your hands!" " What for?" "Your hands." "These are the surroundings of Marseilles." "Marseilles is surrounded by mountains." "This is an arid landscape." "But there is an immediate contrast..." "In the background, over there..." "We keep worrying and wondering what will happen to him." " And we arrive..." " With a helmet like this." " We move at the same speed as him." " Everything is shown..." "No change in point of view." "We're never outside the car and..." "And we discover Lattrache." "Brahim Lattrache." " Slim." " Who is Slim?" "The building up in this scene really happened during the shooting." "From take to take." "What does Luciani want?" "To know your price for pulling out with the Italians." "All this conversation was very technical." "Very complicated, all the more in that it was twofold:" "The conversation started here and ended in the cottage." "In order to change the rhythm you decided just before shooting that we would talk in Arabic like this:" "And the scene wasn't written with a gun pointing at his head." "There was no gun." "But it changed everything." "At first, Slimane had no clear idea how to assert his authority." "The tension must build up and the gun really helps with this." "Building it up with dialogue only was too complicated." "And we really needed this build-up to have a payoff with the accident." "Run errands?" "I like this music." "It's a shame that it's not part of the soundtrack." "I discovered it on the radio at 2 a.m. when leaving the shooting set." " Really?" " Yes." "While shooting this film?" "When we were in Gennevilliers." " Okay." " With Jean-Mi, in the car." "I heard this and tried to pick it up." "Sound familiar?" "Sound familiar?" "We had to imagine that it was the last minute of our life." "What happens here is really good." "Yeah, it's great." "It's not too bad here." "It really sounds like we're a bit pleased with ourselves." "This is the moment to state that no animal was hurt during the making of this picture." "Kill it!" "This is what we call the "safari."" "What Jean-Mi called the "safari."" "He had many doubts about the realism of this moment." " Yes, but at the same time does he often see does like this in his dreams?" "This was a tricky scene." "What are you?" "You're very photogenic here." "It's amazing how your look changes radically." "Yes, I feel the same." "Do you remember...?" "I didn't know." " Yes, the scene wasn't written like this." " It was hard to play." "During the shooting, we changed the fact that he takes his gun." "And that changed everything." " And then..." " We've been asked this often." "Why does he accuse himself?" "It's..." "It's weird." "This is great." "I discovered it when seeing the rushes of the meat being washed in the sea." "I was very happy when we shot this part of the film." "I was feeling very comfortable." "I liked this lady a lot." "And the little butchers in the background." "We just have a postcard-like image with the meat hanging from the hooks." "It's so beautiful." "Here, it was a shooting day that didn't work out as expected." " First of all, because of the weather." " It was awful." "In the script, we had written "sunshine."" "We went south for the sun, but we had to turn on the floodlights." "There was nothing left except the wind and the pouring rain." "Tell me something." "Some Muslims asked me about Luciani." "Was that you?" "You talk with Muslims, Corsicans you come here..." "Straddling everyone." "It's not too great on your balls." "Talk to Lingherri too?" "The Italians have a Corsican snitch." "Does your boss know?" " Are you sure?" " Positive." "This scene was rewritten many times." "He was..." "Slimane was..." "Nathalie Vierny, the continuity girl, helped him a lot." "He was a little..." " He was nervous." " He was very nervous." "It's difficult to explain why, because the shooting was..." "I got trouble with a guy in Paris." "Is it out of sync, or is it me?" "It's been out of sync for a while." "Can you tell him we know each other?" "Since the second reel?" "Yes." "Maybe we should tell him." "What do you think?" "This scene represents a real change in Malik's character." "A moment where he makes a step forward." "Actually..." "Not just one step, but all of the stairs." "His look, his costume, everything." "Everything changes." "I was talking about the gray, windy weather." "This is so depressing, one just wants to go to bed." "We came for the sun and we had the exact opposite." "But we spent a pleasant week in Marseilles." "Yes, of course." "Marseilles made me relax instantly." "When did we shoot this?" " In the third week." " The third week." " And it's from this point that..." " Oh, I loved doing this." "We had a rain machine covering a distance of 30 to 50 feet." " In order to leave the rain behind." " Yes, in the same shot." "You and Latif will meet and talk." "Seriously?" "I'm gonna meet that asshole?" "Here, I really wanted the sound effects and the ADR to break away from realism." "Work out a deal." "If one listens carefully, it sounds fake." "And I like that." "Here we're confronted with the same kind of difficulty as with the 40 pounds of hashish." "Because this is a conversation." "But there is no exchange." "Yes, you're right." "You're giving orders." "This is a one-way dialogue." ""Here's what will happen, we will do this, you must do that..."" "This is very well played, and so realistic." "The question is not whether he is okay but whether he will be able to keep it going when it will become harder." "Talk to him..." "There were some tough moments." "I'll let it go for now." "Think about your parole." "Damn it!" "Check the time!" "I love this." " It's the harvest." " Yeah, it's beautiful." "At some point, I was afraid that people might think it was heroin." "The sand was very white." "That's why I added pine spines..." "Exactly, things like that." "All I want is for him to move his ass and settle this thing." "As we speak one of our guys is sleeping with the Italians." "I want to know who." "From this point on, we wanted to develop..." "And it works." "It was present both in the script and during the shooting." "...The paranoia of Cesar, who can sense that something is going wrong that someone is hiding the truth from him." "And this paranoia will impact all the characters." "It is present in this conversation, and then later during the coffee talk." "Out!" "This is a thing one can always count on with Niels." "One should always be cautious of him." "Something can always happen." "I think I found someone." "A Basque in Pamplona." "Why do you say "good news"?" "You told me to look." "We're talking about Jacky, Sardinia, casinos..." "I love the way he plays it with a smile." "...And all of a sudden: "Good news."" "It wasn't good before?" "It was." "So why "Now some good news"?" "I didn't say "now."" " I can tell you two good things." " Can you?" "It's been ages!" "Thanks, sir." "The idea was to look at Malik again, now that he has become powerful." "And have the same situation..." "The same situation as before, but with a new Malik." "And here we know that he is being manipulative." "I remember that I had to walk at a slower pace and in a more grounded way." "You get the scores?" "Which game?" "Why do you make the coffee?" "I really enjoyed playing this scene slowly." "There are a few deleted scenes in the French edition of the DVD where one can sense that the actors enjoyed their performance." "Yeah." "And when I ask for a coffee, you hop to it." "When you're acting with him, it feels like the whole shooting crew disappears." "And there are a few lengthy pauses, as in every limpid performance." "I do it because you ask." "Want to know how I feel?" "I couldn't care less." "He's a damn good actor." "You're the one who needs me!" "Can I go?" "If you have an actor who is unable to show authority while playing it aloof, it doesn't work at all." "This scene was added later on to make it more understandable." "This was done..." "We did it in post-production"" " The voice..." " it's completely different." "As a result, there were changes in the placement of this scene and what they were saying to each other..." "What were they saying?" "I don't remember working on this scene." "It happened when the mother was attacked." "Okay, I see." "I don't know how much the text evolved." "It was thoroughly revised." "Beforehand, they were talking about the attack on the mother." " Yes, the mother." " When Latif kidnaps Ryad." "And now, the plan is about trying to corrupt the imam." " And here, this is Gennevilliers." " Where the production offices are." "The studio is in the background, but can't really be seen." "I love this music." " That's me." " The way you refuse the hand." "This music is typical of Alex." "Ah, yes, this scene..." "I thought this scene was shot entirely here." "Entirely here, but then entirely in the library." "Similarly to what happened with Lattrache's gun it was important to put the character in a position of threat." "I remember that you asked me to do something crazy at the end." " With several versions." " Exactly." "In order to have more humor." "But here, I'm in trouble, because I have nothing to lean on." " And he takes his milk bottle." " Use your milk bottle." "But it's not the best thing to use." " At least, it helped me." " Yes, it was useful." "You stand up and get knocked back down." "Maybe the Imam could use that dirty money." "What do you want?" "They're good here." "It was very important to show that the imam has nothing to do with this thug business." "And..." "It was very well treated." "Listen." "Go straight to the Imam again and you're dead." "I like the rigidity of this actor." "He's wonderful." " He has incredible eyes." " Incredible eyes." "Is that why you gave the Imam money?" "To meet with me?" " Thug to thug?" " Cut the shit!" "Just kidding." "This is the second time in this scene that he wants to ask him:" ""Is this what you wanted?" "The two of us talking together?"" " Cesar says the same in Corsican." " The same thing." "This is lovely." "This is the question of Christmas in the Muslim community." "All the more that we see the Corsican over there." "Christmas." "They offer a truce." "Handmade." "Without gifts it's not Christmas." "I'm the gift." "One hundred percent handmade." "This is a kind of Christmas truce." "And as usual with Cesar, each time the word "peace" is mentioned, the war arrives." "And here is the crucial question:" "Does the wild boar count as a pig or not?" "Are you kidding?" "The way Niels Arestrup changes here..." "Why?" "I'm going to ask a favor of you not because you work for me but because I trust you." "Understand the difference?" "I'm not sure." "It was written like that." ""Not because you're trusting me."" ""Not because he's working for me."" " Yes, it was written this way." " I thought it was Niels' idea." "This was something very personal." "But I was talking about the words." "Yes." " A team for what?" " To whack them." "Niels was having a hard time understanding why I had him play in a rather theatrical fashion." "All this." "You, me, Vettori and no one else." "It'll take place in Paris." "Vettori will give you what you need." "He'll supervise but we remain invisible." "Can you do this for me?" "He understands that there's a big issue." "He will organize the encounter." "It's good here." "Any plans for when you get out?" "During the writing process, we asked ourselves many questions about how he should sell the murder of the Lingherri." "The way he should sell it to..." "You see, it's two different things." "There are two parts in this scene." "Or even three parts:" "Christmas..." " The announcement." " ...the announcement and the payoff." "The announcement and the payoff are totally dissociated." "I have six months." "Three up and about." "Maybe they're wrong." "Give me a break." "What's the problem?" "Whacking those guys?" "Keep it down." "We don't know them." "What do we care?" "Think about when you get out." "I won't be around." "When writing the script, we knew that as soon as this murder proposal was made, we would enter the territory of death and everything would be about death." "We want to kill the Lingherri and the Marcaggi." "We want to kill the Lingherri, because we're going to die." "One must accept Ryad because he'll soon be dead." "Actually, it's Malik who reintroduces a sense of..." " Life." " ..." "life." "He has this gesture with his hand." "I spoke to my friend outside." "We'll do it." "He'll tell me when he finds the guys." "It's crazy how the anxiety of the scene comes back to me when I see it." " You mean this scene?" " Yeah." "What anxiety?" " All this..." "And the hand bothers me." " The hand." "Do you see this thing on the forehead?" "The arrival of the group?" "Since the meeting in Marseilles, Malik's character has established himself." "He gets back to his standing position, next to him." "It's the death again from now on." "This territory..." "But the ghost announced to the man, "Now you are in the territory of death."" "Here again, and even in the presence of Jordi." "I'll give you a little." "We wonder how far it can go from here, because he's heavily into drugs." "Why is he doing this when he has important things to achieve?" "We've often been asked this question." "Because he can't take it anymore, this is too heavy for him." "For us, this is a way to humanize him." "It might seem strange, but..." "We humanize him by giving him weaknesses." "He is less omniscient." "Before taking a huge leap forward, he takes one backwards." "We shot a great punch-up on that day." "It ended in a general fight." "But it's a good thing that we didn't keep it, because it prevented us from staying on him." "We had to focus on him." " It was wrong to let an anecdote..." " To distract him from the right track." " Exactly." " Enough weird things happening." "Yes." "We wrote this scene with a dervish in mind." "And we later realized when casting the part of Reyeb that he was actually" " A whirling dervish." " A dervish." "But obviously, Malik isn't a dervish." "This scene ended with a punch line." "This is the scene in the visitors' room." "It was extremely hard to handle." "Well, it's a bit weird." "Anyway..." " I see what you mean." "It happened." " It happened." "In terms of what I feared..." "I was afraid that it would create a complete contradiction." "Ryad says, "I must go, I have nothing to lose."" "And in the next scene, he says:" ""I don't want to go, they're a bunch of idiots."" "He added..." "It's crazy." "This scene was hard to play, because there are too many things to consider." " Yes, but I thought it was..." " Both the inside and the outside." "It had a nice feel of chaos." "But from this point here, I..." "I've lost time and money with them." "Look at the state he's in!" "I think it makes it hard for Niels." "And here, speaking in Arabic all along was literally a counter-performance." " Meaning?" " We had to ensure that the others..." " Wouldn't understand." " ...wouldn't understand." "But in fact..." "Now I'll slap you." "Look down." " What?" " I'll slap you and you look down." "Now he gets it." "Let's move on." "I like the fact that he doesn't answer and leaves." "We rewrote the ending of this scene." "Niels wasn't very convinced by what was going on." "Personally, I think that the action in itself was quite good." "Will you be able to?" "This ending was rewritten during the shooting." " It's a retake, isn't it?" " Yes." "Guard!" "Going to the halfway house is part of your rehabilitation." "Here you gave me the lines 30 seconds before shooting." "I know the Imam Moussab's center." "You've requested two days." "That seems a bit much." "Let's not stay on a little..." "Mohammed, peace be with Him arrived on the mountaintop and fell asleep." "The angel Gabriel appeared." "Know what he told him?" "We shot four or five takes of this scene." " One of them was wonderful..." " He was crying." "Hichem was bursting into tears." "He was speaking in French and suddenly crying in the middle of the scene." "Wondrous, my brother!" "Récite" "He doesn't talk to him." " You're playing it in autopilot mode." " Yes." "I realize today how much work you put in your physical..." "In your physical attitude." "I remember that she wanted to eat my teeth." "When we played this scene, I didn't take into account the tear gas." " I had this idea at the very last minute." " Yes." "Nobody had thought about it." "Olivier Schneider wanted us to shoot several times, but one was enough." "The car comes from here." "One bodyguard, one driver." "You also changed this during the shooting." " In the script, it was happening there." " Where?" " There was only one exit..." " At the hotel." " Yes, of course." " It wasn't a last-minute change." " No, but almost." " You did change the script." "Because we wanted to show that it wasn't happening as expected." "In the beginning, we were showing rehearsals that Ryad was filming for Malik." "It was important to show that it wasn't happening as expected." "The idea was to realize this failure through..." "It was Serge Boutleroff who had this idea." " Wasn't it?" " The car leaves and..." " Am I right?" " Yes, I think so." "During a meeting..." "We talked about it several times, because it was Cesar." " You see, the Cesar shoes?" " Yeah." " It's written above." " It's written above." "Really?" "Absolutely." "I hadn't noticed it either." "I just read it." "He's looking at the store and the shoes are..." " it's for a gift." "Yes." "It was the pumps Cesar had always dreamed about." "It's them." "They're coming." "Black Chevy." "Let them get out." "I'll do the bodyguard." "I like this shot of the guy taking care of his car." "We didn't block the road off, so we shot whatever was happening." "It's weird to have two Arabs with guns and leather jackets in a chic neighborhood, and everything goes well." "The first idea was to have this group." "The second idea was to shoot everything from inside the car, so to speak." "Here, we made the right choices." "Definitely." "Here, it's extremely clear and effective." "And we see this as a twist." "A nice little route, though unlikely." "Yes, I find it rather incoherent." "Oh, come on, look..." "Let's admit that we have six hours to do this..." "This is good." "It's actually quite realistic." "We're in the car and we don't know what will happen in front of us how the traffic will be, who is going to cross the road." "It's always a little bit risky, but here it pays off." "They're turning." "What now?" "They're stopping!" " Go on, I'll kill them!" " Kill who?" "It's an armored car!" "It's an armored car, I said." "Unless you kick them out, we're fucked." "What's he doing?" "Buying cigarettes." "The music works well." " The crescendo here..." " I wish..." " This is really nice." " A choice is being made." "We're really good at doing this type of thing." "All the more that the exposure is low." "This is the second time in the film that I leave the tracks." "Here, this is a high angle traveling." "This little choreography was hard to set up." "It looks simple, but it's extremely difficult to achieve." " You mean entering the car?" " Putting the gun in the right place..." " ...for the rear camera." " It's truly difficult." " It was a long day." " It took a lot of time." "Two long days." "The optical effects weren't very good towards the end." "At some point, you told me, "Hell is not that bad."" "It made me laugh." "Here, the character becomes..." "Malik El Djebena becomes a film character." "He knows he's invincible." "Nothing will happen to him in this scene." "Get down!" "The sound and the music stopped." "Yes, in his head." "He's really good here." "He's deaf." "He's deaf, but it's as if he was coming out of a dream." "Alex's music is so beautiful." "Can't hear a thing!" "He looks as if he's as light as a feather." "Yes, it's inappropriate here." "I should have handled this better." "At this point, we were too tired and he was angry." "For some strange reason the dialogue with Marcaggi was shot in the most..." " It took a record number of takes." " Here?" " It took..." " Seventeen takes." " No, 29 takes." " Correct." "I remember I couldn't understand why it wasn't working." " This is good." " It's really great." "The dialogue works well and Ryad is beautiful with the wild boar's head." "The music is always very lyrical." " It expands the images tremendously." " Yes, it's true." "Otherwise, the images would lack a third dimension." "I love this look here." " Here." " Twenty-nine takes of this." "It's difficult to understand why." " Nothing worked." " Sometimes, we just get tired don't we?" " Yeah." "I was so stressed out that I knocked his poor head for real." "Take your revenge!" "Let's beat it." "In the script, there was a passage..." " In between." " After they had killed the Lingherri." "Malik was offering Ryad a way to avenge himself." " And Ryad..." " Yes." "...was killing the Egyptian who had kidnapped him." "But it was too much of a digression, and above all the characters were becoming too cruel." "I like a lot what we just saw with the blood in the hair." "I remember that there was a theme of resurrection in your writing." "The blood stains come to life in the water." "Yes, when you wash your hands." "I like it a lot." "I find Ryad's place very well-defined." " There's nothing." " There's nothing, but..." "I'm not doing the chemo." "It's hopeless anyway." "For us, the screenwriters this is a very important moment in the evolution of the character." "Yeah." "This is the underlying promise of a new life." " Good?" " Delicious, thanks." "It's a good thing that it corresponds to the introduction of the character of..." " Leïla." " ..." "Djamila, played by Leïla." "Yes, sorry, Djamila." "And the child has grown up." "On that day, the kid was saying "Daddy" all the time." "It was added during the shooting, wasn't it?" "Yes, all this stuff." "I like how he hesitates with his hand on her shoulder." "He doesn't know how to touch Djamila." "It's this moment which was important for us." "This is the promise of a new life." "And the magic operates." "It works on the first take and the kid stays quiet." " This baby was so cute." " Yes." "It was so fun..." "For us, this represents the secret of Malik El Djebena:" "All that he didn't receive and what he is probably ready to give." "It's difficult to put the blame on him." "El Djebena, Malik." "35-114T." "Come on..." "The clink." "This is solitary confinement because he didn't come back on time so he's being punished." "It's a prison within the prison." "But it's also a shelter." "Yes, he takes advantage of this, because he knows that there will be a bloodbath of revenge in the Corsican clan." "So he's safer in solitary." "In the French prisons, this is a tough place." "The living conditions are appalling." "I like how he's running with his tap shoes." "Beyond the biblical references, 40 days and 40 nights represent the maximum sentence for solitary confinement." "Absolutely." "I think the European Commission has contested the length of this sentence." "Here, we had many..." "Many more than now." "There was a whole succession of violence in the Corsican clan." "They would fall one after the other." "Yes, the death of Santi, and I don't remember who else." "The idea was to show that they were like wild cats." "Here, Cesar is helpless." "He goes to see Ryad." "I remember writing a scene where the ghost was telling his own story." "I don't remember this at all." ""There was sunshine." "He woke up and told me that..."" "But here, this is supposed to be a celebration?" "Yes." "There were many things." "We had a ballroom orchestra." "But in the end, I only used two travelings." "And it works very well this way." " There was a rodeo with the lamb." " With the lamb, yes." "And the ghost has disappeared." "You there?" "I never understood why he disappeared." "Is he free now?" " Now he's alone." " Now he's alone." " He has become his character." " He has become his character." " There is no more..." " Apart from the first murder with..." "It's as if he had to bear the burden of guilt." "Until the second murder, which represented a relief." " And his friend dies." " And his friend dies." "Adel resents us a lot for having him die because he's still secretly hoping that there will be a sequel." "Are you there?" "Is he hoping to come back as a ghost?" "Yes, he hesitated..." ""In fact, he's only pretending to die." He told me this several times." ""In fact, he's not truly dead, but hidden somewhere..."" "Anyway, he'll come back as a ghost." "This is a new step for the character." "We didn't want Malik to appear like a thug, but like a young prince." "Yes, a sort of Shakespearean prince a bit like what Shakespeare did in Henry V." "How the Henry V character..." " ...is abandoned by Falstaff..." " is abandoned by Falstaff." "...then betrays Falstaff, and so on." "He's alone." "There is nothing left." "In a way, this is the territory of..." "It's about assuming his role..." "This is the territory of death, with boundless solitude." "I love..." "It's clumsy to express love this way, but Niels..." "He's a little bit like an old lady, I think." "It's quite strange." "He is the prince, while the others come to salute him and introduce..." " ...the newly arrived." " The newly arrived." "Exactly." " He's on the other side now." " Yeah." "He spent the film in the sunshine, and now lives in the shadow." "There are two things in this long confrontation which happens in silence, in a shot-countershot." "They stare at each other in silence, and now Malik is the one who gives the orders who has a gang to execute them and who doesn't need to run errands anymore." "It's crazy how this image is still having an impact on me." "It's when he gets up." "There is something of an old lady in him, like an abandonment." "We never had the idea that Malik could have Cesar killed." "He now has the means to do this, but..." " He lets him get old and die." " He lets him live." "He lets him die, I would say." "Even though I remember that you shot..." " Yes, but it was just..." " ...the death of for the fun of it." "This gaze had to express a six-year relationship and the fact that I wouldn't be here without him." "And the sizzle of the little cigarette." "It's funny because during some screenings..." "Yes, in my memories too people are laughing." " "Check that everything is here." - "Check that everything is here."" " I still have the cigarette." " And we wonder about this zipper." "I remember that Barthélémy asked me, "What could possibly be in this box?"" "This was inspired by the ending of Scarecrow by Schatzberg." "The bank note that..." "He had hidden in his heel." "In his shoe heel." "Jimmie Dale Gilmore." "Here are Macky, Mack, Mack the Knife." "Your release form." "The door." "It's a good day." "Good day, sir." " His mates in the parking lot." " They wave to him." "In a friendly way." "It feels like a family reunion." "Djamila and the child." "The widow and the orphan." "He goes towards the widow and the orphan." "He had no family when he arrived in prison." "Now he's leaving prison with the hope of finding a family." " It's cold." " Freezing." "It's not the ideal weather to get out." "It wasn't written." "You gave me this line at the last minute." "To do this..." "We shot the exit scene twice." " Because of the weather." " Yes, the first time..." " It was snowing." " ...the sky was so gray..." " ...it felt like crying." " It felt like crying." " It had to look better than that." " So we shot it again." "If people swear to me that I'll get sunshine, I'll shoot it for a third time." "Come home." "I'll take the kid." "Use his bedroom." " I don't want to impose." " You're not." "There is still the possibility of getting to the bus." "To see them in the bus." " With the cars behind." " Trying to follow them." "He signals them to keep their distance." "He prefers staying with Djamila." "Don't be too present." "This is wonderful." "A PROPHET" "This music corresponds to the original version, Die Dreigroschenoper. .." "...The Threepenny Opera by Bertolt Brecht and Kurt Weill." "This opera was written around 1926 or 1927." "One mustn't forget that this opera is for the poor people." "Jimmie Dale Gilmore's performance is absolutely wonderful." " So, what next?" " You can turn off the TV now."