Intervista al più famoso attore comico francese Kad Merad alla Mostra del Cinema di Venezia con “La Melodie”.

Kad Merad, sei una celebrità come attore comico. Come ti sei trovato invece in un ruolo drammatico?

Non so mai cosa effettivamente rispondere a questa domanda perché qualunque sia il ruolo, io mi considero un attore, un interprete nel senso più ampio del termine. Quando ho scelto di fare questo mestiere volevo fare commedia in quanto il mio più grande modello era Jerry Lewis che, sapete, ci ha lasciato poco tempo fa; per me lui era l’esempio di chi è anche capace di commuoverci enormemente, come avete visto nei film di Jerry Lewis.

Non molto tempo fa, in Francia, hanno trasmesso un reportage su Jerry Lewis dove la donna della sua vita, alla soglia della sua morte, ha raccontato che durante tutta la sua vita è stato considerato un attore comico, possiamo dire un attore divertente, senza che veramente le persone si interessassero a fare osservazioni o critiche costruttive, e il giorno in cui ha fatto “the king of comedy”, il film di Martin Scorsese, tutti sono rimasti stupiti e hanno detto “ah che grande attore” e lui ha detto “scusatemi, ho fatto una sessantina di film e solo oggi mi trattate come un attore e non come un comico”.

Ma ti senti effettivamente differente in questa interpretazione?

Io trovo che sia un po’ questo il problema, io non ho l’impressione di essere diverso nei film, cerco sempre di avere il meglio da me stesso, di essere fedele a ciò che devo fare e alla storia che si deve raccontare. Sono molto felice oggi di poter interpretare film cosi diversi tra di loro e ancora non ho finito, ho ancora tanta voglia e ho sempre l’impressione di imparare qualcosa dai film e penso che continuerò ad apprendere cosi per tutta la mia vita. Amo molto la commedia ma amo molto anche i film come “La Melodie” perché amo molto anche le emozioni. E molto molto piacevole vedere in sala persone commuoversi tanto quanto vederle ridere. Io penso che siano due sentimenti che sono equivalenti. Non so, io mi commuovo per esempio tanto quanto avanti ad una grande partita sportiva o ad un concerto e posso ridere avanti ad uno sketch; Sono entrambe emozioni molto forti, a me fa molto bene entrambe e penso che faccia bene anche alle persone, sia ridere che commuoversi, io mi sento bene con entrambe.

Interview to ROBERT REDFORD in Venice Festival for ‘Our souls in the night’.

Robert Redford, in Venice for his new movie, has talked about that and other point of views he has on the planet, on independent voices, on older age.

OPPORTUNITIES FOR INDEPENDENT VOICES

What is the most important issue today in 2017?

The only thing is that there is hope for the future. The thing that we have to put in our minds and hands is “where can we go that there is hope?”. We have responsibility for the future generation, and there is only one planet.

You acquired the book and produced this movie. Why did you wanted to embark on this project?

It was a film pointed to a younger audience I wanted to do another film with Jane Fonda, we have not done other for 46 years, before I die.

Why did not direct the movie yourself?

I think it has a lot to do with what Sundance is about. If you have success, and I’m talking about myself, you have to create opportunities for the people, and that goes to the category of the independents filmmakers. There are independent voices out there that does not have a chance, so I can get the success that I’m having and create a mechanism that is an opportunity for other films. That is the festival. But before the festival, I don’t think a lot of people know about this, the process was to take in 1980 colleagues as writer, director, cinematographer and so forth in coming in Sundance, this place in the mountain, and create a profile, a kind of a brand for new filmmakers to come and go through the process. To develop the relationship between filmmaker and studio the only thing we could was to create a festival, where those filmmakers could come and show each other their work and maybe going beyond that. One was the opportunity for the filmmakers, the other was the opportunity for the audiences to watch movies that were not available in the mainstreams. We get connected with Ritesh Batra in Sundance, where we put his film made in India in our launch box. So when this film came about, it was a chance to maybe give an opportunity to him.

Love as you get older doesn’t change?

No, it just increases. But I’d like to say something about getting older, because I think when we are young we don’t think about that. On a personal level it’s something difficult for me, because when I was young I was very athletic, and then suddenly realize that you must be careful, and I find that hard to deal with. About the sadness of getting older, you have to give up circumstances that you had when you were young, and suddenly you do, and that create restrictions of some kind, kind of sad.

When we were young we think about what we gonna do with our lives and with our carriers, we have children. It takes a while to make the adjustments when you are only thinking about them, because you are so basic thinking about yourself, and also you have children. The time goes on, you realize you have responsibility to take care of them, not only to take care of them, but give them love, give them humor, maybe give them a venture, if you can.  And then you have to let them go, and you have to realize that you felt so busy in your earlier years, when you were young and having a family. There is tension there between looking up to yourself and also looking up to your children. I think that something that this film has in it. My character didn’t think about the children and now realize “oh my God, I have a responsibility that I let it go on. What can I do? Can I retrieve it? Can I bring it back?”. It creates a kind of dramatic tension.

Interview to GEORGE CLOONEY in Venice film festival about his new movie ‘Suburbicon’.

I have been at the presentation of the last movie where George Clooney is director and not actor, ‘Suburbicon’, a black comedy on the issue of racism in Usa. This is what he told:

What did you think about America when you started doing this film?

The genesis of the screenplay started when I watched a lot of speeches on the campaign trail about minorities, and I found this story that has happened in Pennsylvania, so I remembered the Cohen had written ‘Suburbicon’ and I found a kind of perfect match. I have tried to find a funny way to explore these issues. Unfortunately these issues are never out of vogue in our country.

What is the relation of the lucid normality of Matt Demon’s character with the collective insanity we live these days?

First of all I want to agree with the insane Matt Demon is part of the fun with this… (laughing…) . I grew up in the South in the sixties and seventies, segregation was going away and of course we have done a lot from original slavery and racism. The idea was just to say “you are looking in the wrong direction”, while white men are losing their privileges and blame minority. We have put this insane family in the middle of an insane story. This is what we did it.

In this film there is a lot of angry. Can we say this is an angry film?

Yes, it is an angry film. If you go to our country, probably it’s the angriest eye I have ever seen in the country. There is a dark cloud hanging over our country right now, and I’m an optimist but a lot of us are angry, angry with ourselves and angry at the way country and the world are going. We did not want to make a civic lesson, we wanted to be funny, but it is certain an angry movie.

All the movie is based on the view of a child.

Yes, in fact there were an original script named with the eye of the child, because we wanted to create a comfortable feeling in the viewer. Watching through a child eye I think to be a positive person, an optimistic person, and when the children look at that world they think that things should go better. And we have not written anything but only asked to the composer to write a music to describe this feeling of the children.

From the Cohen original script this is a less ironic movie, full of real “monsters” from society. Why this choice?

The monsters aren’t just bad people. You form them, and it happens caused by very stupid mistakes. In every single choice they make the wrong one. Monsters are created, become monsters along the way.

Did you feel that Trump was coming while you started this movie? Or it was a surprise for you?

The reality is that Trump’s coming in has been a big surprise for a lot of people. These are element that are always played in America. The ‘Suburbicon’ is part of our lives. After the Second World War this was the way middle class lived, having schools and a house with a swimming pool… This is not a movie about Donald Trump, this is a movie about the issue that we have never really addressed the racism in our country. We favorited integration but we have people that educate themselves without it.

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