Uncharted, Tour de France, Nerve, Snowden
Arte broadcasts this evening “Quand on a 17 ans”, with Sandrine Kiberlain, Kacey Mottet Klein and Corentin Fila The script of the film is the result of the collaboration between André Téchiné and Céline Sciamma, co-writer of the film Feedback on this association
The story of When you’re 17: Damien, 17, son of a soldier, lives with his mother, a doctor, while his father is on a mission In high school, he is manhandled by a boy, Tom The violence Damien and Tom show towards each other will evolve when Damien’s mother decides to take Tom under their roof.
When we are 17 years old by André Téchiné, selected at the Berlin Festival in 2016, marked the unprecedented collaboration between two generations of filmmakers, André Téchiné and Céline Sciamma, co-writer of the filmFor the film’s release in March 2016, we invited them both to discuss their work and the birth of their artistic collaboration. Discover an excerpt from this interview (to be found in full here)
AlloCiné: What is the first artistic memory you have of each other? Céline Sciamma: It’s My Favorite Season, which is André’s first film I have seen in theaters Then, very quickly, I saw it all, as best I could because there were no DVDs I saw My favorite season, The Wild Reeds, and I went back in time I stole the My Favorite Season poster that was big in my roomAnd you remember a click after watching this movie … CS : Yes, absolutely This is one of the first author’s films that I went to see alone in the cinema This is the start of my independent film enthusiast, not bullied by family or school It is almost the very beginning of a ritualization of my life, of my daily life around cinema It’s very striking We remember the first films where we understand the staging, we understand the vision, where it’s a choice to go …
CS : It was Catherine Deneuve I repeat it all the time but I will never tire of repeating it because to have fallen in love with Catherine Deneuve is potentially to become a cinephile: we discover Bunuel, Téchiné, Truffaut, Demy … The list goes on and on It’s a beautiful panorama of the authors who matter To follow Catherine Deneuve is to go on a trip to the cinema He was my guide!
And for you, André, what is the first artistic memory you have of Céline Sciamma?
André Téchiné: For me, it was chronological I haven’t seen Birth of Octopuses (Céline Sciamma’s first feature film, Editor’s note) when it was released in Paris, but in Turin where the film was very well received I think there was a pretty standout actress in that movie too, right? A prototype, which really caught my eye It is obviously Adèle Haenel … (André Téchiné directed it in his previous feature film, The man we loved too much, Editor’s note) ()
Afterwards, I saw Tomboy who I found overwhelming In Celine’s gaze on adolescence, there was something that appealed to me very much And even to seduce is a little weak It was a kind of delicacy and luminosity Because most films about adolescence, when they are interesting, still have a rather melancholy and even suicidal aspect. I’m thinking of great filmmakers like Olivier Assayas or Gus Van Sant
In Céline’s films, there was a kind of appeal for emancipation, something that kept you from coming out of the crowd, that the cinema kept its enchanted character And that made me really want to know her and try to build a relationship with her at workAs I also knew that it would be a kind of portrait of boys, it was good that there was a mother in the center, who is played by Sandrine Kiberlain But already in the first stage of writing, for me, a woman was necessary, and the woman who stood out with her talent was necessarily her (smiles) You know I didn’t have much choice either (laughs) No, no, it’s a joke! CS : This is my chance! It’s the lack of choice that creates my opportunities! (laughs) Sometimes you feel that there are affinities between filmmakers, writers, actors … But there may be a fear of saying “I would like to work with you” Did this happen naturally for you? VSS : We met to work, in a commission around short films against homophobia (Céline Sciamma directed a short film for the 5 films against homophobia collection, Editor’s note) But we had crossed paths () There was a proposal There hasn’t been a big business of reciprocal seduction We saw each other over a matter of work We shook hands at the end saying ‘yes’ ” We try ” And the next time we saw each other for work It was extremely concrete, simple It’s an alliance, a generational alliance
AT : Generational, it’s true But also a kind of curiosity to know how we were going to agree and manage to make the same film together It was really very exciting I saw straight away who I was dealing with, that is to say not at all to a yes-yes what It was also very stimulating that a writing partner could have responsiveness and a critical eye on what I could possibly come up with. In the same way that I was not shy about what she offered me too () We were not afraid to hurt ourselves narcissistically It’s always difficult when you don’t know the writers, this part of narcissistic wound We bring you a gift, proposals … How to measure the work done, which is completely defensible, and at the same time reject it, say that we do not want it? This is really very hardHowever, strangely enough, while we both refused each other’s proposals, and we had in a very dynamic way many disagreements, it never spilled over into an author’s susceptibility I don’t know how we escaped thisVS S : That is true ! It’s crazy, but it’s true!
And this is important! So that you don’t end up accepting things you don’t want … T : This is important – it had happened to me on other, less happy experiences -, because afterwards we are dealing with the grudge of the injured author It can contaminate the working relationship But we did not fall into these traps at allVS S : Yes, it took a year in all A year in which we each finished our respective films [The Man Who We Loved Too Much for André Téchiné, and Bande de filles for Céline Sciamma] And as the shooting was in two parts [in winter and in summer, Editor’s note], we rewrote a bit in the middle together It was very intense It was smoothly over time It was not a flowing writing, it was very concentrated () We have temperaments that are compatible Maybe this is the temperament of the great melancholics, but we always try to be happy This is the place where we hit it offAT T : And then, it was also selfishly useful to work with Celine because I assumed that she could bring me unity I like it when it goes all over the place I like digressions, sub-stories, crossroads of history … I love it I knew, without it being in conflict mode, that with Celine there would be a purity of line In this film, the simple and straight side, I owe it to Céline’s presence in the script, who has a great sense of focus and unity It’s not a compliment, it’s a factYou got ahead of my question … What do you think you brought to each other? T : Unity, that’s it Minimalism I tend to be a bit too baroque and overabundantVS S : He told me, so I knew I was summoned to that placeAT T : It is super conciseVS S : The questions of disagreements that we can have on fiction are also those that we can have in our relationship to the world Does fiction lie? Is she telling the truth? I got into Téchiné’s relationship with cinema, in his relationship with characters … And that moved me We’ll see how much it moved me in my own work I allowed myself, for example, in the dialogues of more literary things … Things that I like but that I did not necessarily allow myself
Tom Hanks, Gary Sinise
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Being 17, André Téchiné, Arte, Drama, Kacey Mottet Klein, Corentin Fila, Sandrine Kiberlain, Céline Sciamma, My Favorite Season
News – FR – When you are 17 years old on Arte: how did this collaboration between André Téchiné and Céline Sciamma come about?