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ÉCU-The European Independent Film Festival


ÉCU - The European Independent Film Festival is dedicated to the discovery and advancement of the very best independent films from around the world. We are a festival who believes in our independent filmmakers and their artistic talents. ÉCU proudly provides a unique platform that brings together diverse audiences who are hungry for something other than major studio productions and original and innovative filmmakers. 

 
The 16th edition of ÉCU - The European Independent Film Festival will take place on 9th-11th April 2021. Now open for submissions!

 

 

 

For more details regarding the festival, please visit our website at www.ecufilmfestival.com

 

 


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Interview with Jean-Christophe

Jean-Christophe Bouvet is a French actor known for playing in films
by Jean-Claude Biette, Claude Chabrol, Soffia Coppola, Jean-Luc Godard,
Jean-Claude Guiguet, Maurice Pialat, Vecchiali Paul, Gerard Krawczyk,
etc.

After studying linguistics, semiotics, psychoanalysis and sociology,
he started working in TV in 1968 with Téchiné in “The Banquet” in 1977
and starring in “The Machine” by Paul Vecchiali. He then directed his
own series “Les aventures de Jacques Toumoy” , and won the Tokyo
Festival prize in the 80s.

We sat down with Jean-Christophe Bouvet to talk about ÉCU, his career and his vision of art cinema vs. commercial cinema.

1) You’ve played in art films and in commercials films, which one do you prefer?

‘We are paid to be in commercial films. For films like ‘Taxi’
directed by Gérard Krawczyk, he is a brilliant director who has made
great art films like ‘L’été en pente douce’. ‘Taxi’ was made very
professionally for a commercial film. I think it’s better to make a good
commercial film than a bad art film.

One can be an intellectual and an artist, in London to be an
intellectual is a swear word whereas in Paris it’s worse to be an
artist. Bouvet likes to receive both intellectuals and artists. When he
met Godard (or God/Art), he had a crazy dream. He had a nightmare before
where he saw himself saying ‘Hello Sir’ and Godard replied ‘That’s all
you have to say to me’. His craziest dream was to climb the stairs at
Cannes in May 2004 for ‘Notre Musique’. He would like to be recognized
on the street so that people say ‘Hello Mr Bouvet and he’s well known
in China, Japan, Russia.

2) How much more complex is it to act in an art film than in a commercial film such as Taxi?

‘There are advantages to making commercial films, such as good
working conditions, even if sometimes actors don’t really want to be
there, or they don’t understand the film. With auteur directors it’s
important to have a lot of trust and confidence, even if working
conditions aren’t very good.’

3) Many people think independent cinema is like an intellectual
ghetto, continually ignored or abandoned in favour of commercial,
popular and more accessible cinema. What do you think?

‘There are too many labels, films and commercial films are still
separated. Independent film is not necessarily boring, not always
intellectual, and it can appeal to the general public.’

4) Before filming with someone like Godard, had it been one of your dreams? Did you ever expect that to happen one day?

‘For Godard it was a dream I’d had since childhood, I saw ‘À bout de
souffle’ when I was about 14-15 years old.’ Godard describes his films
as documentaries about the work of an actor. Since Bouvet was 5 he had
wanted to make movies for all the wrong reasons: it was the glamour of
the movie star walking down a staircase and greeting the crowd that
attracted him.

5) What one piece of advice would you give to young directors hoping to break into independent film?

‘I’d say buy a camera and shoot yourself. With today’s technology
everyone can do it. So my advice would be: make a film and get your
movie shown on screen. To make quality cinema choose your subjects
wisely, surround yourself with professionals and learn on the job.’

-----------------------------------------------------------------

Jean-Christophe Bouvet est un comédien français connu pour avoir joué
sous la réalisation de Jean-Claude Biette, Claude Chabrol, Soffia
Coppola, Jean-Luc Godard, Jean-Claude Guiguet, Maurice Pialat, Paul
Vecchiali, ou encore Gérard Krawczyk.

Après avoir étudié la linguistique, la sémiologie, la psychanalyse et
la sociologie, qui sont pour lui une source d’inspirations, il commence
à la télévision en 1968 avec Téchiné dans «Le Banquet». Il décroche son
premier rôle en 1977 dans «La Machine» de Paul Vecchiali puis, après
être devenu réalisateur de sa propre série, «Les aventures de Jacques
Toumoy», il remporte le prix du festival de Tokyo dans les années 80.

Jean-Christophe Bouvet a accordé une interview à ÉCU sur son parcours et sa vision du cinéma d’auteur et du cinéma commercial.

1) Vous avez tourné dans des film commerciaux et indépendants, qu’est ce que vous préférez?

«Quand nous jouons dans des films commerciaux, nous sommes payés pour
ça. Des films comme «Taxi», réalisé par Gérard Krawczyk, sont des
réalisations de talent. Il a réalisé de très bons films comme «L’été en
pente douce» ; «Taxi» a été fait de manière très professionnelle dans la
gamme du commercial. Il vaut mieux faire un bon film commercial qu’un
mauvais film d’auteur.»

On peut être intellectuel et artiste. A Londres, être intellectuel
est un gros mot tandis qu’à Paris c’est l’inverse. Jean-Christophe
Bouvet aime recevoir des intellectuels et des artistes, la venue de
Godard/ God Art restant son rêve le plus fou et le plus inimaginable. Il
en faisait des cauchemars avant de le recevoir chez lui, se voyait
l’accueillir et lui dire «Bonjour Monsieur» et imaginait Godard lui
répondre «C’est tout ce que vous avez trouvé à me dire?».

Son plus grand fantasme était de monter les marches à Cannes, choses
faite en mai 2004 pour «Notre Musique». Il n’a pas pu dormir. Il
aimerait être reconnu dans la rue et qu’on lui dise «Bonjour M.Bouvet».
Il est très connu en Chine, en Russie et au Japon.

2) Quelle est la complexité à jouer dans un film d’auteur qu’on ne retrouve pas dans un film commercial?
«Dans un film commercial on retire de nombreux avantages, les conditions
de travail sont agréables. Dans un film d’auteur, même si on n’aime pas
forcément le film ou si on ne le comprend pas, on se laisse faire, on
fait confiance au réalisateur. Lors du tournage d’un film d’auteur les
conditions sont parfois difficiles.»

3) Beaucoup pensent que le cinéma indépendant est un ghetto
intellectuel, encore montré du doigt ou délaissé au profit d’un cinéma
commercial populaire et plus accessible, qu’en pensez-vous?
«Il y a trop d’étiquettes, les films commerciaux et les films d’auteur
sont trop séparés. Le cinéma indépendant n’est pas forcément chiant, pas
intello, grand public.»

4) Tourner avec quelqu’un comme Jean-Luc Godard, cela faisait partie de vos «rêves»?
«Pour Godard c’était un rêve de gosse, j’ai vu «À bout de souffle» vers
14-15 ans». Godard disait toujours que ses films étaient des
documentaires sur des comédiens en train de travailler. Depuis ses 5 ans
Bouvet voulait faire du cinéma pour les mauvaises raisons : il avait vu
une star de cinéma descendre un escalier et saluer la foule, et le côté
glamour lui avait plu.

5) Quel conseil donneriez-vous aux jeunes réalisateurs qui espèrent percer dans le cinéma indépendant?
«Je leur dirais d’acheter une caméra et de faire un film. Avec la
technologie à notre disposition aujourd’hui, tout le monde peut le
faire. Le conseil serait donc celui-ci : tournez votre film et
présentez-le pour qu’il soit projeté en salle. Il faut vérifier ses
sujets et bien s’entourer de professionnels, de façon à apprendre son
métier et à faire du cinéma de qualité.»

 

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About ÉCU-The European Independent Film Festival

Hillier Scott
(ECU)

 

 

Scott Hillier, Founder and President of ÉCU - The European Independent Film Festival
 
Scott Hillier is a director, cinematographer, and screenwriter, based in Paris, France. In the last 20 years, Hillier has gained international recognition from his strong and incredible cinematography, editing, writing, producing and directing portfolio in both the television and film industries.  
 
Scott began his career in the television industry in Australia. In 1988, he moved to London getting a job with the BBC who then set him to Baghdad. This opportunity led him to 10 years of traveling around world for the BBC, mainly in war zones like Somalia, Bosnia, Tchetcheynia, Kashmir, and Lebanon. After a near fatal encounter with a Russian bomber in Tchechnyia, Hillier gave up his war coverage and began in a new direction. 
 

He moved to New York City in 1998.  He directed and photographed eight one-hour documentaries for National Geographic and The Discovery Channel. Based on his war knowledge and experience, Hillier wrote and directed a short film titled, “Behind the Eyes of War!" The film was awarded “Best Short Dramatic Film” at the New York Independent Film and TV Festival in 1999. From that he served as Supervising Producer and Director for the critically acclaimed CBS 42 part reality series, "The Bravest” in 2002 and wrote and directed a stage play called, "Deadman’s Mai l," which ran at Le Théâtre du Moulin de la Galette in Paris during the summer of 2004. He then became the Director of Photography on a documentary titled, “Twin Towers." This was yet another life changing experience for Hillier. The riveting documentary won an Academy Award for "Best Documentary Short Subject" in 2003. In 2004, Hillier changed continents again, spending three months in Ethiopia. He produced “Worlds Apart,” a pilot for ABC America / True Entertainment / Endemol. As you can see, Hillier was and is always in constant movement and enjoys working in a number of diverse creative areas including documentaries, music videos, commercials, feature and short films.

 
Scott studied film at New York University and The London Film and Television School. He also studied literary non-fiction writing at Columbia University. Hillier's regular clients include the BBC, Microsoft, ABC, PBS and National Geographic. Between filming assignments, he used to teach film, a Masters Degree course in Screenwriting at the Eicar International Film School in Paris, France and journalism at the Formation des Journalistes Français in Paris, France. 
 

 


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