“Hollywood does not un­der­stand an­i­ma­tion. If a film made with dig­i­tal an­i­ma­tion is a hit, they think all films must be in dig­i­tal an­i­ma­tion”

The Irish Times - Friday - The Ticket - - Film -

writ­ten for her – he was read­ing to her at the time. As far as I know, the rest of the fam­ily are happy with the film. We were work­ing with the Tati es­tate. I am not sure what sort of film this man was ex­pect­ing, but it was well be­yond the scope of our film.”

Now Chomet, who has re­cently moved back to Provence (“seven years with­out sum­mer and sea­sons is just too long”), is tak­ing a break from an­i­ma­tion. Hav­ing al­ready presided over a live-ac­tion short – a sec­tion of the col­lab­o­ra­tive film Paris, je t’aime – he is cur­rently in pre-pro­duc­tion with a nat­u­ral­is­tic mu­si­cal fea­tur­ing Séraphine star Yolande Moreau.

“It was scary be­ing in the com­pany of all those fa­mous ac­tors and di­rec­tors for Paris je t’aime. But an­i­ma­tion takes such along time. It was very lib­er­at­ing to shoot with a cam­era with­out draw­ing ev­ery­thing first. An­i­ma­tion is a very tough in­dus­try. It is so time con­sum­ing, and very labour in­ten­sive. It is nice to start a project and know that you might be done in less than seven years.”

He laughs: “Hope­fully.”

Make it for the wrong rea­sons. This might seem ob­vi­ous, but please don’t re­make a film just be­cause you can do it in English or in colour. Nikita was fine in French. Why did the world need a shot-for-shot re­make? (And who even re­mem­bers Point of No Re­turn?).

Let the Right One In was adored and well-ex­e­cuted. If horror fans don’t want to see the orig­i­nal be­cause it’s in Swedish, they don’t de­serve it. And Gus Van Sant fa­mously said that a ma­jor rea­son for re­mak­ing Psy­cho was to show the blood in colour. Funny, not many peo­ple com­plained about Hitch­cock’s clas­sic be­ing in black and white.

Don’t re­make films that got it right first time. Michael Caine has made his share of bad movies, but his star qual­ity is ev­i­dent when you com­pare his best films with their re­makes. While The Ital­ian Job re­make wisely didn’t pres­surise Mark Wahlberg to emote, the re­cent re­boots of Sleuth and Al­fie

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