For moviegoers, Maurice Pialat is a monument. His work, demanding, uncompromising, has influenced several generations of directors, until today.
Maurice Pialat is no longer there to dissect his work – he died in 2003 – so his exegetes will gladly take care of it.
Its official editor, Yann Dedet, who lives in Eure-et-Loir, will be in Chartres on May 14 and 15 to dialogue with the public during a great weekend in tribute to the Children of Paradise.
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You have worked with Maurice Pialat on five films. How would you define it?
He was very demanding. He often got angry with the people who worked with him. He had faith in his work and wanted others to have the same level of involvement. But he was also very trusting and never said to us, “Do this or that”. He left the field open to us. I learned a lot with him, he lifted me off the ground.
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premium Three questions to the Chartres actress, Mélanie Pichot, who is adapting Hilda, a text by Marie NDiaye
In a film, we often highlight the actors or the director, but rarely the editor. What is your role, exactly?
A film is born out of a kind of dream, then you have to make it come true. There is the script, the filming, then finally the editing. It is a quieter and more solitary time. We can concentrate, discuss the film… Editing is the last stage of the screenplay. We no longer tell the story with words, but with images. It is at this moment that we realize if a film is successful or not. Some scenes that we imagined beautiful are ultimately missed, or vice versa. Cinema is complicated, sometimes it doesn’t work. When editing, you can try other solutions…
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What was your personal relationship with him?
He often fled the editing room, but we talked a lot. Not necessarily the current movie, but lots of different things, music, etc. These discussions nourished our work.
May 14 and 15 at the Les Enfants du paradis cinema in Chartres. Prices: per session: €7.50; cine-clap, under 25: €5.70; four-film card: €16.
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Remi Bonnet
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