SCRIBE

                                       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.
 

1. 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.

2. 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.

3. 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.

4. 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...

5. 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.

6. 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.

7. 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.

8. 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/