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Jacques Audiard
Birthday:
30 April 1952
Height:
174 cm
Biography
[on Marion Cotillard] For me she's almost like an actress of the silent cinema, like Louise Brooks. And she's also fearless, she throws herself into scenes - literally.
[on Marion Cotillard] For me she's almost like an actress of the silent cinema, like Louise Brooks. And she's also fearless, she throws herself into scenes - literally.
[on Dheepan (2015)] What interested me was the position of someone different in society. How the people who sell us roses when we're sitting in a cafe live and where they come from. If it helps their situation, then so much the better.[2015]
[on Dheepan (2015)] What interested me was the position of someone different in society. How the people who sell us roses when we're sitting in a cafe live and where they come from. If it helps their situation, then so much the better.[2015]
You need something to say about the place where you make films. I know Europe. The US I don't know so well. I need a film that sees something, like One Flew Over the Cuckoo's Nest (1975) did for Milos Forman. It makes it worth the trip.[2012]
You need something to say about the place where you make films. I know Europe. The US I don't know so well. I need a film that sees something, like One Flew Over the Cuckoo's Nest (1975) did for Milos Forman. It makes it worth the trip.[2012]
I really believe the form of the film must be in the scenario; cinema is not just added value to the scripting. I believe in it as a totality. There was a specific problem with this film, which we saw often during the writing: the clash between realism and stylisation. You had constantly to be looking for an equilibrium. If it's too realistic, it's boring. I...
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I really believe the form of the film must be in the scenario; cinema is not just added value to the scripting. I believe in it as a totality. There was a specific problem with this film, which we saw often during the writing: the clash between realism and stylisation. You had constantly to be looking for an equilibrium. If it's too realistic, it's boring. If it's too stylised, you don't believe it.[2012]
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Un prophète (2009) is maybe the point at which I began to feel uncomfortable with the French casting system. I felt like I needed to direct other faces, other skin colors, other ways of speaking and thinking, other forms of expression from what we are used to seeing.[2015]
Un prophète (2009) is maybe the point at which I began to feel uncomfortable with the French casting system. I felt like I needed to direct other faces, other skin colors, other ways of speaking and thinking, other forms of expression from what we are used to seeing.[2015]
Jacques Audiard
Born in Paris, France, in 1952. Jacques Audiard's family has always been involved in movie business. His father, Michel, was a popular screenwriter and director and his uncle a producer. But in his teens he refused that world and wanted to be a teacher. He studied literature and philosophy at the Sorbonne but didn't finish his degree. By that time, his then girlfriend suggested he work as a trainee editor during his university holidays. He worked as an assistant editor on several movies like "Le locataire" (1976) directed by Roman Polanski.He also joined a theater where he did all kinds of work. He specially enjoyed adapting works for stage. In the eighties he wrote the screenplays of some successful movies like "Mortelle Randonnee" (1983), "Reveillon Chez Bob" (1984), "Saxo" (1987), "Frequence meurtre" (1988) and "Grosse fatigue" (1994). Most of those films were thrillers directed by prestigious filmmakers like Claude Miller and Michel Blanc. He also directed some well received short movies.Thanks to the success of those movies he was able, in 1994, to raise up the money to make his first movie "Regarde les hommes tomber" a somber road movie starred by two of the most important French actors: Mathieu Kassovitz and Jean Louis Trintignant. That movie won 3 Cesars of the French academy for best editing, best new director (Jacques Audiard) and best new actor (for Kassovitz).Kassovitz also became the star of his second movie "Un heros tres discret" released in the Festival de Cannes in 1996 where it won the award for best screenplay. "Un heros tres discret" undermined the myth of the French resistance to the Nazis by telling the story of a young impostor who rises high in French society after World war by concocting a past for himself as a hero. It also won awards in the festivals of Stockholm and Valladolid and made his name internationally.In 2001 he made his third movie "Sur mes levres". The love story between two outsiders (a deaf office worker and a hoodlum) who decide to con a group of gangsters also became a success. It also won three Cesars (best actress, sound and screenplay).His last movie, "De battre mon Coeur sest arrête" (a remake of "Fingers" a James Toback's movie) was released in the Berlin festival of 2005.With those movies, Audiard has become the new master of the "polar" (French thriller) and inheritor of others great French directors like Jean-Pierre Melville (1917-1973) and Henri Georges-Clouzot (1907-1977).
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