MATHIEU LANDAIS "SCRIBE"
Photos by Sandrine Landais
It is the screenplay last film Larry Clark "Smell of us", poet and director of interesting shortfilms.
We granted exclusive interview.
- I think Larry Clark met
in a hotel in Paris, Is that so
Absolutely.
He was supposed to transfer me some japanese notebooks and other goodies that a
common friend bought for me while he was travelling.
- How was your first meeting? What are you talk about?
I had no
idea who he was. To me he was just an old nice guy visiting Paris. From an
ordinary chat, we have quickly moved on to matters such as underground cinema,
visual arts and youth. I also read him some poetry I was writing at that time
and showed him the off-the-wall poetic videos I was working on with my brother.
In the evening, when I had missed my train, he stood up and said: I should get
going, I have an official dinner at the Plaza Athénée and I'm their special
guest. I asked him who he was. Larry Clark he said. I was impressed. I knew
well his work.
- The script for "Smell of us" is completely yours, did you have total freedom to write?
At the
writing time, the Smell of us was indeed mine. Larry would read every draft and
just said: “very good, go on.” He only asked me that the action takes place in
the skateboard world.
- Where did the idea to make that script come from? And What you look
for references and inspirations
to write?
The first
draft came directly from my own troubled existence and the lives of many
youngsters I had came across during my time. As many people of my age, I have
very numerous inspirations. I had tried to construct the film as an
old-fashioned dramatic play, such as Racine's work. I included sensorial and
surreal experiences inspired by the reading of Artaud, Breton, Burroughs and by
many directors such as Dreyers, Lynch, Welles, James Gray...
- To write the script I
guess you did prior
preparation and documentation of the boys and skaters Paris to write. Tell
us how it was that previous
work on the script?
After the
one or two first drafts, MOST of the script, including places, lifestyle
scenes, dialogues, characters, was inspired by the youth I had met in Paris. I
had spent around five years talking with skaters from all age and horizon,
going to their parties, visiting their houses, clubs, squatts... I recollected
every single word I liked into notebooks which sometimes made them
uncomfortable. But I had to say, we got along very well. We might look and
sound very different, but we have the same urge of freedom, uncompromised
beauty, fun and general goodness. I had been allowed to look myself for the
kids that were to play the parts. I want to think that I choosed Lukas, Hugo,
Diane and Theo. But actually there was no choice to make. They were OBVIOUSLY
the perfect match for the characters. I defended them every minute and they
were choosen. I then adapted the script to their personality and own language.
Each of their tongues had an inner pace and vocabulary that I wanted to
communicate to the audience.
- The film gives
importance to social networks like
"Facebook", as the kids
use it a lot to get what they want. Do you think social media really play an important role in today's youth?
A determining role. Facebook itself
had become more of an official window to the youth – a place where you enhance
your own life for your relatives, and they have move on to new networks. But
the importance of these networks remain. They are not only the virtual place of
social life. They define the kids' perception of the outter world and STRUCTURE
their very minds. They play a determining role in the construction of their
social skills that has yet to be define.
- Your script implies
that there is much lack of
communication between people, the inability to talk
to face to
communicate, are able to speak on social networks but not to communicate in person. Is that so?
This statement is once again more accurate if
connected to youth. If we value the modern means of communication as strict
equivalent of the old means, we tend to think that they are only more
efficient. That's the common opinion on that subject. Though, by the most
primary physical laws, there is no gain without loss. We might have reduced the
geographical distances but I think we also have lost some essential components
of communication along the process. The young generation, born in the digital
age, has much less practiced the non verbal communication – physical
impression, tone of voice... - which is fundamental. That's what is the script
“The Smell of us”: an organic scream to connect physically.
- What's it like working with Larry?
Meeting
someone of whom you like or admire the work is always a difficult
experience. We became very close
and he starting aging. Aging nowadays is to many a dreadful thing. The
materialistic world we live in worships eternal youth and gives no clues or
hope to the old ones. I felt more and more that Larry Clark had the desire to
make a film about himself and to drift away from our intial plans about
portraying a certain youth and exploring new visual lands. It was very hard for
me to see him finally give up my years of research and work with the kids to
focus on himself. When he choosed to send me away, he became very isolated when
filming, with no translator to tell him who did well or who did wrong. No one
rewrote the script when he choosed to replace most of the main actors and he
had only a few clues about the lifestyle of the kids. First I felt it was very
unfare for all the kids we met and for the skaters who are hoping at last for a
film faithful to the skate spirit. But I came to realize Larry needed to do
this his way. No matter if this film is good or bad, it is HIS. I'm very happy
to had the chance to connect to all these wonderful people. And ready to use
all my filled notebooks, videos, photos, stories for another film, this time
about french youth.
9. We know that you are also a writer and
poet, film director let your work a bit.
I like
exploring. But I never believed in multiple skilled artists. I'm just a poet.
Writing is not just about blackening a page. It is perceiving the signs in the
world every minute. It is about becoming an animal.When I make an exhibition,
like I did in Nantes (HOME with Christian Mamoun Sargès) I do it as a poet.
When I make a short film, like LE JOUR APRES MA MERE (with Lukas Ionesco), I do
it as a poet. Same with a visual piece or a script. So the only question here,
which can seem old-fashioned, is : what is poetry ? Poetry is to me material.
It's when the physical world penetrates you. Nothing is more material than a
dream. And a poet is not someone who dreams. It's someone who can perceive a
dream from the most reduced part of reality. From a single fall leaf, from a
girl's mouth.
10. Almost all the actors with whom you work are unknown .. The
choice was yours?
Yes, I have
spent years casting in skateparks, squats, shops, throwing my own parties or
visiting others, and also using the internet world. I was helped by Marlon
Baroudjian who I met at Bercy skatepark and became a friend and a solid ally.
He was mistreated by many and if it was not for him, there would not have been
any film. I finally got to met Theo, Diane, Hugo and Lukas. For some of them,
Larry was already there. At that time he and I had a very fusional work
relationship and he recognized in these kids the same thing I did. There was no
choice. They were OBVIOUSLY the characters we wanted.
LINK:
http://houseofscribe.com/
