Jeremy Thomas presents
a Recorded Picture Company / Peninsula Films / Fiction Co-Production
A Film by
Bernardo Bertolucci
THE DREAMERS
Screenplay by Gilbert Adair
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PRODUCTION NOTES
INTERNATIONAL VERSION
International Press: Premier Public Relations
CAST
MATTHEW
Michael Pitt
ISABELLE
Eva Green
THEO
Louis Garrel
FATHER
Robin Renucci
MOTHER
Anna Chancellor
PATRICK
Florian Cadiou
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CREW
Director
Bernardo Bertolucci
Producer
Jeremy Thomas
Screenplay
Gilbert Adair
Production Designer
Jean Rabasse
Director of Photography
Fabio Cianchetti
Editor
Jacopo Quadri
Costume Designer
Louise Stjernsward
Casting Directors
Juliette Menager, Howard Feuer
and Lucy Boulting
Sound
Stuart Wilson
Make up Artist
Thi Loan Nguyen
Hairstylist
Aldo Signoretti
Stunt Co-ordinator
Patrick Cauderlier
Special F/X
Gregoire Delage
Associate Producer s
Hercules Bellville
Peter Watson
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SYNOPSIS
Left alone in Paris whilst their parents are on holiday, Isabelle (Eva
Green) and her brother Theo (Louis Garrel) invite fellow student
Matthew (Michael Pitt), a young American, to stay at their apartment.
Here they make their own rules as they experiment with each other’s
emotions and sexuality, playing a series of increasingly demanding mind
games. Set against the turbulent political backdrop of France in Spring
1968, when the voice of youth was reverberating around Europe, THE
DREAMERS is a story of self-discovery as the three students test one
another to see just how far they each will go.
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FROM BOOK TO FILM
Strangely for a film about obsession, passion and possibilities, THE DREAMERS is a
project that happened almost by accident, was at first considered with reluctance and
would never have happened for any other director. At the time Bernardo Bertolucci first
picked up Gilbert Adair’s 1988 novel The Holy Innocents, he was thinking carefully about
his next project, and he approached this introspective tale of a ménage a trois in the
midst of the 1968 Paris riots with mixed feelings. A self-confessed Francophile, the
Parma-born Italian felt too close to the events of that turbulent year and was
ambivalent about translating them to cinema for fear of cheapening both his own
experiences and those of others. “I’ve made very few movies in my life,” says the
director of such award-winning movies as LAST TANGO IN PARIS (1973), THE LAST
EMPEROR (1987) and THE CONFORMIST (1970), “because every film is really a part of my
life.”
Indeed, when Adair’s book came to him he was seriously considering the idea of a
sequel of sorts to his epic 1976 masterpiece 1900, which traced, in parallel, the lives of
a farmer and a landowner and came to an end in 1945. “I wanted it to go on until the
end of the century,” says the filmmaker, who was considering making Paris ’68 one of
the stops along the way. “But then I thought, ’Let’s be real. What was behind 1900?
There was a big political hope — and today I cannot see anything at that temperature So
I gave up.” But Adair’s book brought back some wonderful memories. “It’s not so much
about the events of ’68, the riots and the violence,” he says, “it’s more about the spirit
of the moment.”
For Bertolucci, the former poet whose love of cinema was catalysed by the French
cinema of the ’30s and given a boost by the Nouvelle Vague (or New Wave) directors of
the late ’50s and early ’60s, that spirit comprised a dizzying mix of elements. “There
was something quite magic in the ’60s,” he recalls, “in that we were… well, let’s use
the word ‘dreaming’. We were fusing cinema, politics, jazz, rock’n’roll, sex,
philosophy, dope, and I was devouring it all, in a state of constant o.d.”
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Inspired by the novel, Bertolucci gave it to his long-standing producer Jeremy Thomas,
whom he’d met in the early 80s and worked with since The Last Emperor. “He’d been
toying with the idea of making a film in Paris, set in the 60s for a while,” says Thomas.
“He tried various thoughts, without any success, and then finally he said, ‘I’d like you to
read something…’ He gave me Gilbert’s book, I read it and I said, ‘Well, that could
make a very evocative film.’ And as it would be my fifth collaboration with Bernardo, I
thought it would be great to make a movie in Paris with the man who made both THE
CONFORMIST and LAST TANGO IN PARIS there. I thought, ‘Why not make the third one?’”
So Thomas made the call to Adair’s agent. And had anyone else made the call, it’s very
likely the answer would have been a definite no. Dissatisfied with the book, which was
drawn in part from his personal memories, Adair had already turned down several
potentially lucrative requests from other producers, not least because of the critical
success achieved by the film adaptation of his novel Love And Death On Long Island. In
fact, he had asked his agent not to phone him if any more came in. “It was,” says the
author, “just too frustrating. So he stopped telling me, but then one day he did phone
me. He said, ‘I’m telling you because it’s special — it’s Jeremy Thomas and Bernardo
Bertolucci.’ I must say, I couldn’t resist that particular temptation. Now, because the
novel is about the movies, about politics, about cinema itself, it seemed an obvious
subject for a film, which is why a number of producers were interested. But to me, it
seemed particularly relevant for someone like Bernardo. There seemed to be themes
and preoccupations that I recognised from his own work.”
So with input from Bertolucci, Adair set about not only rewriting the script but actually
rewriting his novel too, for a new edition, although he concedes, “It’s not identical to
the film. I don’t think it’s a good idea for a novel and a film to be like twins, certainly
not identical twins.” And although the director and writer hadn’t known each other in
the 60s, it became clear that their experiences were remarkably similar. Like
Bertolucci, Adair arrived in Paris as soon as he could. “I was always a Francophile too,”
he says, “and as soon as I left university I decided I wanted to come and live in Paris. In
fact, I sometimes say I’m a Francophile even in France, which is the test.” Bertolucci
had arrived a few years earlier, after his debut movie in 1962, and when he did his first
interview, he said to the journalist, “If you don’t mind, I’d like to do the interview in
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French.” The journalist said, “Why? We are all italian here.” Bertolucci replied, “Parce
que le francais, c’est la langue du cinema.” He laughs at the memory, “In other words,”
he says, “French is the language of cinema. Cinema speaks French.”
Gilbert Adair was in Paris when Henri Langlois, director of the Cinematheque Française,
was relieved of his duties, outraging the films buffs and students who crammed into his
screenings of rare movies. Furious with the government, these people took to the
streets, initially to defend one man but later for much, much more. “It was a big event
in Paris,” says Adair. “It was the first time young people had taken on the State and
actually won, because Langlois was reinstated. A lot of people have argued that this was
the curtain-raiser for the riots of May ’68, and in a way it was like the assassination of
Archduke Franz Ferdinand at the start of WWI. There was a spirit of rebelliousness in
the air, and then suddenly it all exploded. I was there for all of it, and some years after
that, and I wanted to write about it. Not an autobiographical novel, which The Holy
Innocents certainly was not, even though there are autobiographical elements there,
but something about a period that marked my life forever.”
The film, however, only touches tangentially on the historical elements of that
particular time. “It’s the story of three young people in 1968,” says Thomas, who was at
that time working with Ken Loach at Pinewood Studios, “and in those days Paris was a
central hotbed for lots of idealism: political, lifestyle and a changing of moralities. I
found that a fascinating period to make a movie about. It was a very strong period even
in London, when I was 19 myself, but not nearly as strong as it was in Paris.”
Adair confirms that this is not a history lesson. “It’s very much a chamber piece,” he
says. “Although at certain moments in the film, history does — in the guise of May ’68 —
erupt into their lives, it’s about a young American student in Paris who is befriended by
two French kids, a brother and a sister.”
Says Bertolucci, “Everything starts on one particular day in Paris, and that’s when our
‘heroes’ meet. The French kids’ parents have gone on holiday for a month, so, together,
they lock themselves in the house. And they have this very intense relationship, a real
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initiation, in those few days. They stay locked in the house and when they go out they
are grown-ups. They become adults.”
“It’s about their voyage of discovery,” adds Adair. “It’s about the spring: the springtime
of Paris, the springtime of its political awakening and the springtime of their bodies.
And what happens inside the apartment seems to reflect, in a certain way, what’s
happening outside.” Indeed the events of 1968 have many meanings for all concerned,
and not just political. “People will ask me if the film is about ’68,” says Bertolucci,
“and I’ll say that, yes, it takes place in ’68, and there is a lot of the spirit of ’68, but it
is not about the barricades or the fighting in the street. It is more about the whole
experience. I was there and it was unforgettable. There was an amount of hope in
young people that you had never seen before, and never would again. The attempt to
dive into the future, and freedom, was fantastic. It’s the last time something so
idealistic, so Utopian, happened.”
CASTING
Since he introduced 21-year-old Maria Schneider to world with 1973’s Last Tango, as the
perfect unspoiled foil to Marlon Brando’s world-weary stranger, Bernardo Bertolucci has
established himself as having a great eye for young talent. He has worked in this
tradition through all his work, from THE CONFORMIST in 1970 to STEALING BEAUTY in
1996 and BESIEGED in 1998. But by focusing on a story involving just three young people,
he set himself with a difficult task. As Jeremy Thomas explains, “When you’re making a
film about young people it’s hard to find actors around the age of 19 or 20 who are
movie stars, so it’s a good opportunity to find new people.” For Bertolucci, however,
this required more than a simple talent search. “In general,” he says, “what I’m looking
for is not exactly a person who is just what is written in the script. What is more
important is the feeling of having somebody with a veil of mystery. Someone who will
keep my camera very curious about him or her.”
So as pre-production began, the only real certainty was that they would need to find
two French actors and an American. “We went to Los Angeles and New York for the
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latter,” says Thomas, “and I think we saw about 200 people until we narrowed it down
to Michael Pitt. It was the same for the French characters; you see lots of people, then
you arrive at the ones you think will inhabit those parts best, and then they really come
to live in them until you can think of no one else more suitable.”
The American trawl, however, was not easy, not least because the director was anxious
to preserve a degree of mystery about the project. “Bernardo was very secretive about
the script,” recalls Pitt, “so you had to go in and read it there, right in front of him, and
you couldn’t take it with you. I sat there and read the script and I just thought it was
just beautiful.” There were other problems too. Though mild by today’s standards, Last
Tango caused ructions throughout the world with its frank portrayal of human sexuality,
and some agents were nervous of giving this new script to their clients. “The US is a
very puritanical place,” says Bertolucci, “and they were having problems with it. I
didn’t spend much time trying to convince people, though. It’s a script you either like
immediately or you don’t make the effort. And while I was looking, I met Michael in
New York, and initially I had a kind of resistance to him. I was going to cast someone
else, but then I realised I was wrong. I was afraid that, because of his looks, he might
seem narcissistic, but I’d under-estimated him. He’s more than a fine actor. I think I
was resisting initially because I did like him too much and I couldn’t admit it. “
Previously seen in Larry Clark’s controversial Bully as part of a murderous teen cabal,
Pitt has quickly established himself as one of America’s most fearless new actors since
his break from TV soap/series Dawson’s Creek. Indeed, both these contradictory aspects
of his career prepared him for the role. “I play Matthew,” he says. “He’s an American
student who’s just come over to France to study. He grew up in a suburban middle-class
family. He’s sort of a good kid but he’s kind of naïve. He’s from San Diego and he’s lived
a kind of sheltered life, as opposed to being a hippie, and really his awakening, or his
liberation, starts here. A lot of this has to do with the two people he meets and the way
they corrupt him, in a sense. Maybe they just open his eyes — or give him permission to
open them.” Gilbert Adair takes up the story: “At the very beginning of the film,
Matthew’s quite a lonely character. He’s at the Cinematheque every night, he doesn’t
know many people, and then at the first clash between the film buffs and the police he
is befriended by two young French people, Theo and Isabel. They’re twins, but not
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identical, and we get the vague impression that they have Matthew in their sights and
that the meeting is somehow engineered. And from that point on, their destinies are
linked together.”
The search for Theo and Isabel was similarly exhaustive, since Bertolucci was looking for
actors who could convey the intimacy of twins. “I wasn’t looking for a resemblance,” he
says, “I was looking for something more subtle than that. They both come from a
middle-class Parisian family, very culturally aware but also very self-conscious.” To play
Theo, he selected Louis Garrel, son of Philippe Garrel, who presented another,
unexpected connection with ’68. “I knew his father,” says Bertolucci. “He’s a director I
admire, who was very young in ’68, and I was curious to meet his son. I liked him at first
sight; there was something very romantic about him but there was also a kind of
severity.” Garrel understood this aspect of the part intuitively. “It’s about a couple of
twins that begin their sexual awakening and they need someone else to help them,” he
says. “They meet this American and they both use him like an innocent; Theo wants him
to separate him from his sister and Isabel wants him to separate her from her brother.”
With Garrel, Adair became aware that the film was about to take on a life of its own.
“Theo is a mysterious character,” he says, “rather more mysterious than he was in my
novel, and that’s thanks in part to Louis. I don’t really think that the audience knows
for quite some time whether Theo is manipulating Isabel or vice versa. At the beginning,
he seems almost dominated by her, but as we begin to discover Isabel’s insecurities, we
wonder perhaps if Theo is playing a more subtle game. This game between the two
becomes a game between the three, and that’s ultimately what the film is about.”
To complete the trio, Bertolucci selected newcomer Eva Green, a theatrically trained
actress making her feature debut. “When I met her,” says Bertolucci, “after ten seconds
I thought, ‘This is Isabel.’” Indeed, first impressions are crucial to the role. Says Adair,
“When we first see Isabel, she’s rather a flamboyant figure, rather conscious of her own
beauty, her own iconic quality, because she’s clearly mimicking the kind of movie stars
she admires. Then we discover all sorts of other things about her and realise that she’s
a much more vulnerable, much less secure character that she seems. She’s witty, clever
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and has a lot of vivacity, but she has a secret that the film reveals in its own good
time.”
But although she found the transition from stage to screen daunting, Green embraced
the challenge. “It’s a great part because Isabel is very mysterious,” she says, “and we
never know if she’s acting or not, because she seems to be performing the whole time.
She’s inspired by the great actresses of the cinema — Greta Garbo, Lauren Bacall, Bette
Davis — and she’s very ambiguous. She’s like the Sphinx. She seems to be quite hard
sometimes, yet she’s hiding a great sensitivity. She’s scared of being alone, of being
separated from her brother, yet she’s also scared of being in love with him.”
With his cast in place, Bertolucci unveiled his plans to ease them into the mindset of the
time and the place in which the drama unfolds. “What I really wanted is to have three
kids from today confront these kids from ’68,” he says. “What do Michael, Louis and Eva
know about ’68? Almost nothing. Kids today know little about ’68. So I showed them a
lot of newsreels, a lot of TV from the period. And at a certain point I was going to have
them read the texts that were essential in the 60s, but then I realised that would have
been too much, it would have raised more questions that would be impossible to
answer. So I decided to have this confrontation in a more subtle way.”
Green noticed this immediately and was impressed by the director’s instinctive style.
“The atmosphere in his film is very intoxicating and sensual,” she says. “I was scared to
work with him but he’s so nice, he works very closely with the actors and he’s very
reassuring. He’s very demanding, but he can manipulate you without seeming to be
manipulative. Everything seems so simple; he manages to communicate what he wants
with a single word or a single gesture. He’s very mysterious.” She laughs. “We never
know what he’s thinking!” Pitt agrees. “Bernardo seems incredibly casual, in a certain
way, and yet he’s working towards something very precise.” This precision, however,
had its price. As the cast settled into their roles, Bertolucci and Adair began to see the
storyline changing in unexpected ways. “Working with Bernardo was unforgettable and
quite stressful at times,” says Adair. “For him, the film is a living organism, and we
were constantly taking it in different directions. Every so often, he’d have to show me
what he’d filmed and edited so far, because the script was no longer the most reliable
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guide to the way the film was going. So I constantly had to rewrite dialogue as the
characters evolved. At first it worried me, but I learned a great lesson from Bernardo. I
used to think you took the actors and sort of poured them into the character, in the way
that a bottle gives shape to a liquid. Bernardo showed me that it’s the other way round.
It’s the actor that gives shape to the character.”
THE CINEPHILES
For both Bernardo Bertolucci and Gilbert Adair, Paris will forever be inextricably linked
with their love of cinema, and in both cases that passion was stoked by the
Cinematheque. “I came to Paris after I did my A levels when I was 18,” says Bertolucci.
“My parents had given me some money, I came with my cousin, who was the same age,
and I discovered a place called La Cinematheque Française, which I’d read about.” This
was at the height of the emerging Nouvelle Vague cinema, when such films as François
Truffaut’s Quatre-Cent Coups (The 400 Blows, 1959) or Jean-Luc Godard’s A Bout De
Souffle (Breathless, 1960) were reinvigorating world cinema with their kinetic energy,
intellectual ambition and political drive. The Nouvelle Vague filmmakers were born and
bred in the Cinematheque, guided by its evangelical founder Henri Langlois.
“The Cinematheque Française was not just an ordinary museum,” says Adair, “simply
because of Langlois’ policy. He’d show everything he had and he refused to keep films
in vaults. Even if it was rare or fragile, he’d show it, inspiring a whole generation of
young people who became passionate film buffs, then passionate film critics, and the
very best went on to become film directors. So it was here that Jean-Luc Godard,
Jacques Rivette, Claude Chabrol and Alain Resnais all learned their craft, just by
watching this huge jumble of films.” Bertolucci agrees in the strongest terms. “A
foreigner goes to Paris and is hypnotised by the Cinematheque,” he says, “and therefore
by cinema itself. It was considered by me and the others who went that as nothing less
than a cathedral.”
Arriving sometime after Bertolucci, Adair found his Cinematheque years coinciding with
the height of the civil unrest provoked by the sacking of Langlois. “It was really rather
incredible,” he says. “On the one hand you had these nerdy film buffs holding posters
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that said, ‘Films pas flics’ — ‘Films not cops’ — and then suddenly you had these robots,
these guys with their riot gear and truncheons attacking them. Not only was I chased by
the police, Francois Truffaut was beaten over the head, Jean-Luc Godard was pushed
around and the wife of director Yves Boisset ended up in hospital. It was shocking, but it
made headlines, and the presence of older stars like Jean Marais, star of Jean Cocteau’s
films, and Jean Renoir, who was then in his 70s, gave it a much wider impact.”
The world of film and filmgoing adds another layer to a story that is already delving
deep into the world of image and identity. “I think of THE DREAMERS as a film about
three utopias,” says Adair. “First there’s the sense of a political utopia, when you really
believe that things are going to change. But there was also a cinematic utopia. I mean,
we’re talking about a time when people were as passionate about movies as they are
today about football teams. Though there wasn’t anything like football hooliganism,
there were fights: people would argue and it would turn nasty. Now, with video and
DVD, you can see everything, and there’s no sense of that passion. For example, if you
missed a Nicholas Ray film at the Cinematheque, it was like missing it forever. And then
there was the third utopia: sexual. The 60s followed the blandest, most conformist of
the last century’s decades. Suddenly young people were discovering their rights, and
their sexual freedom. It was a sexual thing to go to the movies — it wasn’t a nerdy
thing. I mean, Truffaut was a film buff and he was handsome and stylish.”
For the cast, raised in the era of the multiplex, video and DVD, the world of the
cinephile was most enlightening. “I had to learn a lot and see a lot of movies,” says Eva
Green. “I saw things like Queen Christina, with Greta Garbo, and Beyond The Forest,
with Bette Davis, who I was very impressed with because she made such a great femme
fatale. But it helped a lot. It was helpful in trying to imagine what drives my character,
because she lives in a cocoon with her brother and wants to escape from the real world.
For her, cinema is her way of avoiding reality.” For Louis Garrel, however, it came a
little easier. “I can really understand the passion for cinema,” he says. “Maybe because
my father is a director, maybe because my mother is a director too, in theatre, and
maybe because my grandfather is an actor, the cinema is my life.”
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As well as manifesting itself in the way Isabel reacts to the men around her, and the
way all three behave with one another, the influence of film shows itself in the games
they play to test each other. No line of dialogue is too obscure, no detail too trivial, and
Adair maintains that this was very much the way of the time. “Film buffs are a very
strange race,” he says, “and they’re almost more interested in poring over the textures
and trappings of films than actually watching them. They love things like posters and
credit titles, because they love to see who did what, and they make lists, endless lists.
Lists of their favourite films, lists of their second favourite films, and so on. And the
games the trio play in the movie are very much like the games we did play in the ’60s.
Someone would toss a coin and we would immediately think of George Raft tossing a
coin in Scarface. Or a woman would stand over a grating with her skirt blowing up and
we’d say, ‘Ah, Marilyn Monroe in The Seven Year Itch…’”
The games in THE DREAMERS, however, are rich with a sexual subtext, which Adair says
is entirely deliberate. “The cinema was a very erotic experience for us,” he says.
“Because the films we were watching were from the old Hollywood, they were very
repressed. Even though they were suggestive and even quite salacious, they could never
come out and say what was going on. Even married couples had separate beds. So the
games we played seemed to liberate what was only implicit in the movies; if you didn’t
know the answer you’d have to pay a forfeit, which became quite a sexual thing. In
Bernardo’s film, what the characters don’t hear or see on the screen, they do in the
apartment.”
THE DREAMERS is, in part, an attempt to explore the relationship between film and
viewer back in the days before mass media, when cinema was a form of myth-making
that had yet to be ripped open, dissected and made mundane. To this end, Bertolucci
references some classic movies treasured by Adair and their peers at the time, some of
them old (Frank Tashlin’s 1956 rock’n’roll comedy The Girl Can’t Help It, Tod
Browning’s dark 1932 drama Freaks), some of them intoxicatingly new. For the latter,
Bertolucci has chosen excerpts from the work of Godard, a director he has admired
since youth and since passed on that enthusiasm to the likes of Quentin Tarantino, with
whom he has discussed the subject at length. Says Bertolucci, “I asked Godard to use
two seconds from Bande A Part (1964) as well as a couple of seconds from A Bout De
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Souffle.” Godard’s reply delighted Bertolucci and says much about the filmmaking that
inspired him. Dispensing with paperwork and legalese, Godard said simply, ‘You can do
what you want. There are no rights of the auteur, only duties.”
REVISITING THE ”60S
For Bertolucci, returning to Paris to shoot THE DREAMERS was an emotional experience.
Says Gilbert Adair, “Two of Bernardo’s most famous and greatest films were set in Paris:
Last Tango and THE CONFORMIST. In fact, we often joked on set that THE DREAMERS
should be called “First” Tango In Paris! But for a lot of people, Bernardo has an
extraordinary capacity to film Paris with both the eye of somebody who is neither
French nor Parisian but knows the city so well. He knows instinctively what sort of décor
he wants to use, and even though Paris has been filmed many times by the Nouvelle
Vague directors, he films it in a way no French filmmaker has.” But Bertolucci was well
aware that comparisons would be made and set out to establish a whole new palette. “I
tried to avoid completely all the locations that were in THE CONFORMIST and LAST
TANGO,” he says. “I didn’t want to make any visible connection between THE DREAMERS
and the other movies I made in Paris. And of course THE DREAMERS takes place in ’68,
which is before I went to Paris to make those two movies.”
Indeed, although the events depicted in THE DREAMERS took place some 35 years ago
now, Bertolucci realised early on that a straight, almost documentary-style approach
would be out of the question. Production designer Jean Rabasse explains that, from the
outset, the ethos was always ’less is more’. “Bernardo knew I’d worked on Vatel
(2000),” he says, “which was a huge film about Louis XIV, set in Versailles during the
17th Century, and we’d done a lot of work to recreate that period. For THE DREAMERS,
however, Bernardo told me he didn’t think we needed to so much detail. Because Paris
in the 60s is a very difficult period, in that it’s still quite close to the present day. So
instead of adding props and building sets, we decided to cut down as much as possible
to make something very simple. Sometimes while were watching the rushes we would
say, ‘If the viewer doesn’t think of this as a period film, and just feels that this is a
story about life in Paris, then we’ve won.’ We tried to show as little as possible,
because things like the cars of the time, and the furniture, can be distracting.”
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Bertolucci is emphatic on this point. “I’m not doing an historical film,” he says, “ I want
the spirit of ’68 but I’m not looking for a reconstruction. I think that stopped me for a
while from being engaged with this subject. I’m so much about the present. In fact, the
only way to do a film about the past, for me at least, is to do it as if the past was where
we actually live at the moment. Because when you shoot a film, the reality, the people,
the landscape, the faces and the bodies in front of your camera, even if they’re dressed
up in period costume, they are contemporary to you as you are shooting them. The only
tense the camera can speak is the present.”
In fact, Bertolucci made this clear to Gilbert Adair at script stage. “In the original
novel,” explains Adair, “there was much more description of what was happening in the
streets, but Bernardo said to me very early on in our talks that he did not want to have
this enormous reconstruction of the event. Partly because it didn’t interest him as a
filmmaker at this stage in his career, but also because, as he said to me, ‘You were
there, I was there, and there’s something obscene about imitating something we knew
ourselves.’ I mean, in THE LAST EMPEROR he did reconstruct the Chinese Revolution,
but for him that was something so far from his experience it became a kind of mythic
thing. But this was part of my life and his life, so he didn’t want to go down that route.”
That said, Bertolucci did not skimp on his usual high level of research. “Bernardo
researches a movie more than any director you work with,” says Thomas. “He knows
everything about the subject before he starts making the film. It doesn’t mean he’s
going to use it but he knows it.” And having satiated his curiosity he made sure his
young cast were well acquainted with the reality of the time too. “Bernardo showed us
footage of the demonstrations of the time,” says Eva Green, “and the strikes, so we
learned a lot but I didn’t know anything about it before. I was very impressed; I didn’t
realise the whole thing was so big.”
But despite the relatively small scale of the project in hand, this was no easy shoot.
Throughout his career, Bertolucci has declined to shoot in studios, and THE DREAMERS is
no exception. “It’s all on location,” Jeremy Thomas confirms. “All the films I’ve done
with Bernardo have been done on location, except a couple of scenes from THE LAST
EMPEROR, which we shot inside a studio because we couldn’t get into the rooms at the
palace, so we did them at Cinecitta. But normally his films are all shot on location.”
16
According to Bertolucci himself, this is to prevent himself becoming distracted by the
relative comforts of studio filming. “In a studio you have a lot of facilities,” he says.
“The light is always available, and if you want to pull back the camera, you can pull
down the wall. When I shoot on location I cannot do these things, but this is exactly
what I need. The limits of a real place are always very stimulating. I like to feel that my
camera, like my body, has an organic relationship with the architecture. That’s why I
didn’t shoot LAST TANGO IN PARIS in a studio. I remember Renoir told me that you
should always to leave a door open on the set because, who knows, maybe somebody
will come in during the shoot, somebody you weren’t expecting. This is cinema, this is
reality invading your set. But in a studio there is no way reality can break in.”
As with any modern-day film production, this commitment to authenticity posed major
logistical problems. “For the location manager it was a nightmare,” says Rabasse,
“because, as in all big cities, it’s a nightmare getting permission to shoot.” Jeremy
Thomas, however, stresses that this is becoming just another facet of filmmaking.
Where the likes of Jean-Luc Godard and Francois Truffaut once shot freely on the
streets, increased urbanisation and post-9/11 paranoia have made it much harder.
“Every film has its problems,” says Thomas. “The scenes of 1968 have been difficult to
recreate because the authorities don’t want you on the streets firing baton rounds,
shooting water cannons, turning over cars and throwing paving stones. It’s very difficult
to shoot on the streets of most cities anyway, be it London or Paris, it’s becoming more
and more restrictive. But it’s not insurmountable it’s just something you have to do.
The big problem was things like the cars and the zebra crossings, which were yellow in
1968. So every time we shot on the street we had to put down yellow lines. And finding
old cars is hard too, because they give the public an incentive to scrap old cars, so if
you have a 10-year-old car the state encourages you to buy a new one.”
Although some of the locations were amenable to shooting, such as the original
Cinematheque and The Louvre, where the three protagonists recreate the famous sprint
seen in Godard’s Bande A Part, some locations proved unworkable. For example,
although it seemed logical to shoot the riot scenes in the bohemian district of St
Germain, the events of ’68 have had surprising repercussions on the area. “St Germain
was impossible,” says Rabasse, “and we realised that very quickly. I mean, after May
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’68, the Mayor of Paris took away all the cobblestones, because he thought it was too
dangerous to leave this ammunition lying around for the students. So nowadays you can
only find cobbled streets in the richest parts of Paris, where there are no students.”
Gilbert Adair was initially sceptical of the team’s ability to work around such constraints
but, surprisingly for a film buff, admits he under-estimated the resources of the crew.
“The designers did a wonderful job,” he says. “At first I thought it wouldn’t work
because so many things had changed — there were certain cafes missing, for example,
that I thought were crucial to the look of those events. When we filmed the riot scenes,
they were brilliantly orchestrated, but I just had this nagging feeling that it wasn’t
going to be right. But when I saw the rushes I was amazed. Suddenly I was just assailed
by these memories of ’68, which hadn’t happened at all while I was watching the
filming. And to me, that’s what cinema is all about.”
With the street scenes out of the way, filmed in the traditional holiday period of
August, when its residents largely desert Paris, Bertolucci concentrated on the scenes in
the apartment where the youngsters enact their psychodrama. As Rabasse testifies,
Bertolucci is very particular about his locations and demands that they reflect the story.
“I remember once, I showed him a photo of the set for Matthew’s hotel bedroom and I
said, ’What do you think?’ He said, ’Well, what’s the story? What is this place?’ And I
realised I didn’t have the right idea, so we had to start again — repaint the room and
change the furniture — so I could work out the story behind the room. Who owned it?
What kind of person would stay there? It’s important because Bernardo will have to
explain this place to the actor, so we always had to think about the life that went on
inside the location as well as all the details.”
After a lot of searching, an apartment was found that met everybody’s needs, not just
Bertolucci’s. Says Thomas, “We found an entire building with a courtyard, so we
managed to fit in the whole film crew, the manufacturing crew and the accounts side of
the things all into the one building. Dressing rooms, the make-up rooms, were all inside,
in fact the only thing outside was the catering wagon. It was an ideal situation because
the apartment is a real character within the film. It lives and breathes.”
The apartment similarly impressed Adair, which is as vital to the piece as the dank,
impersonal space shared by Brando and Schneider in Last Tango. “In a sense,” he says,
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“the apartment is the real star of the film. Once we moved to it we were there day
after day with our three actors. Most of the time the set was closed, so for a time we
were surrounded by these three beautiful, naked or half-naked bodies and it became
our world. It’s like being on a long ocean cruise; your world shrinks and you don’t care
what happens in the outside world. And in a funny way, it mirrored what was happening
to the characters: they can’t leave the apartment, despite what’s happening outside.
We hear rioting and sirens — and they hear it too, but this thing is going on in their lives
that is much more important.”
Despite its erotic possibilities, however, Thomas stresses that this is not another
attempt to follow Last Tango’s “succes de scandale”. “It’s not seeking controversy,” he
says, “it’s just a great story about three young kids in a certain moment in their lives.”
And Michael Pitt agrees. “We show a lot of stuff that most movies don’t have the balls
to, which is refreshing. But I don’t think it’s controversial. I think the only reason films
like this are controversial is because not enough people make them. Although I think
films like this are less controversial in Europe than they are in America, where they’re a
little more uptight about sex rather than killing. It’s weird,” he concludes. “You can
watch violence — but not naked people.”
FINAL THOUGHTS
With THE DREAMERS, Bernardo Bertolucci hopes to correct what he sees, in some ways
as a miscarriage of history. He feels the events of ’68 are judged now on modern terms
and what was ultimately achieved, which to him is missing the point. “Some people
consider ’68 a lost war,” he says, “which is completely wrong. I think many, many
important changes happened, but there’s kind of a bad memory, which is perhaps why
people haven’t told their children the story of ’68. There’s a kind of a black hole there
for young people, and I think it’s partly because their parents aren’t keen to talk about
it. Young people know nothing of ’68. It’s like there’s been a big censorship of that
spirit, and I think it’s completely mad. Because even if it was a failure of revolutionary
dreams, ’68 was incredibly important for the change in people’s behaviour. Everything
changed. In Italy, people used to be fined for kissing in the streets! And today’s kids,
who take their so-called freedom for granted, don’t know that a lot of that was
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achieved in ’68. So it’s interesting to see how my actors channel those times. Even if
it’s not said, it’s between the lines. It’s an emotion that will come out on screen.”
However, Bertolucci is quick to stress that he is not trying to lecture today’s youth with
some kind of golden-age nostalgia piece. “In some ways, ” he says, “THE DREAMERS is a
reminder, like a piece of music or a sudden ray of sunlight. It’s a reminder of a period
when an entire generation woke up in the morning with incredible expectations.
Perhaps because I’ve seen today’s young people being melancholic about the future, I
want to remind them of a time when the future was nothing but positive.” Indeed, Louis
Garrel shares Bertolucci’s viewpoint and wishes more young people would tap into the
energy of that time. “A lot of people are trying to kill the myth of May ’68 right now,”
he says. “They want to say this was a dead period created by the bourgeoisie, and a lot
of people are out to discredit it.”
For Bertolucci, the legacy is one of emotion, optimism and hope. “The romanticism was
overwhelming,” he says, “and it wasn’t something you were embarrassed about, or
something that could make you feel awkward. I can see that in my movies now.” And
For Gilbert Adair, the transformation of his black-sheep novel has been a strange and
unexpected but rewarding journey, one that started many, many years ago. “The end of
the film is both happy and unhappy,” he says. “It’s happy because our characters have
reached the end of their voyage and they’ve learned something about themselves, and
it’s unhappy because there’s always something sad about reaching end of something. I
suppose that’s how I feel about the ’60s. I was watching some newsreels with Bernardo,
thinking, ‘Oh my God — were we really so naïve, so badly dressed…?’ And at the same
time, it was the happiest period of my life. It really was.”
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BACKGROUND INFORMATION
MICHAEL PITT – Matthew
Michael Pitt plays the role of young American student Matthew, who spends most of his
time at the Cinémathèque in Paris, where he meets Theo and Isabelle.
In the summer of 2000, Michael Pitt was chosen as one of the Twenty-Five New Faces of
Independent Film in Filmmaker Magazine for being cast as Tommy Gnosis in the 2001
Sundance Film Festival Award Winner HEDWIG AND THE ANGRY INCH. He went on to
work with controversial film director Larry Clark in the 2001 summer release of BULLY
and director Gus Van Sant in FINDING FORRESTER. Michael co-starred with Sandra
Bullock in MURDER BY NUMBERS directed by internationally acclaimed director Barbet
Schroeder for Castlerock Entertainment which had its coming out at the 2002 Cannes
Film Festival. His new projects include starring roles in RHINOCEROS EYES directed
Aaron Woodley which has its world premiere at the 2003 Toronto International Film
Festival, and JAILBAIT which completed production in the summer of 2003 in New York
City. He will work again with Gus Van Sant on a yet ‘untitled’ Independent Feature for
HBO.
Michael's roots lie in theatre and in the summer of 1999 Michael made his Off Broadway
and stage debut starring as Dalton in New York Theatre Workshop’s production of The
Trestle at Pope Lick Creek written by Naomi Wallace and directed by Lisa Peterson.
Daily Variety called his performance “Arresting” and the New York Post wrote, “Pitt,
brings to Dalton all the poetry, passion and openness that the text and the staging
withhold”. Michael again worked with Naomi Wallace in the US Theatrical premiere of
BIRDY at Duke University in the spring of 2000. Directed by Kevin Knight. Other
Theatre credits include the Off Broadway American Premiere of MONSTER an adaptation
of Mary Shelley's Frankenstein directed by Tony & Obie Award winning director Michael
Grief.
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Michael has also worked with first time director Faye Dunaway in the short film THE
YELLOW BIRD. Other film credits include MAMBO CAFE and HI LIFE. Television credits
include a guest star role on LAW & ORDER: Special Victims Unit, and a recurring special
guest-star on DAWSON’S CREEK 1999/2000 Season. Among his talents Michael is also an
artist, writer, musician and filmmaker and has just recorded his first demo with is band
PAGODA. He was born and raised in New Jersey.
LOUIS GARREL – Theo
Louis Garrel plays Theo a young French film student and habitué at the Cinémathèque
who befriends Matthew and invites him to spend time at his home whilst his parents are
away on vacation.
Louis previously starred in Rodolphe Marconi’s CECI EST MON CORPS (2000) and following
THE DREAMERS he will star in director Christophe Honoré’s production MA MÈRE, also
starring Isabelle Huppert.
EVA GREEN – Isabelle
Eva Green plays Isabelle, Theo’s sister, and shares his love of cinema.
THE DREAMERS is Eva’s first film. She was born in Paris and spent three years at the Eva
St Paul School before attending a London workshop at the Webber Douglas acting
school. Since her return to Paris she has appeared in two theatre productions: Didier
Long’s JEALOUSIE 3 FAX and Gerard Deshartes’ TURCARCET. In the autumn of 2003 Eva
will star in the film ARSÈNE LUPIN for director Jean-Paul Salomé.
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ROBIN RENUCCI - Father
Robin Renucci, plays the father of Theo and Isabelle.
A star of French stage and screen, Robin Renucci’s films include: COUP DE FOUDRE,
STELLA, FORT SAGANNE, MASQUES, FAUX ET USAGE DE FAUX, JE PENSE A VOUS, MEFIETOI DE L’EAU QUI DORT, LES ENFANTS DU SIECLE and most recently TOTAL KHEOPS.
He was nominated for his role in DES ENFANTS DANS LES ARBRES and received the award
for PARENTS A MI-TEMPS in the same year, 1997, at the 7 d’Or Film de Television
Awards.
ANNA CHANCELLOR – Mother
Anna Chancellor plays the mother of Theo and Isabelle.
British actress Anna Chancellor trained at the London Academy of Music and Dramatic
Art – she is well known in Theatre, Television and she has appeared in such films as: THE
MAN WHO KNEW TOO LITTLE, PRINCESS CARABOO, STAGGERED, FOUR WEDDINGS AND A
FUNERAL, KILLING DAD, CRUSH and most recently AMERICAN GIRL.
Anna founded the Wicked Theatre Company and has been nominated for Best Actress in
a Supporting Role in the 1997 Olivier Awards.
BERNARDO BERTOLUCCI – Director
Born in Parma and originally inspired to work as a poet, Bertolucci was introduced to
the filmmaker Pier Paolo Pasolini and in 1961 abandoned his studies at Rome University
to become Pasolini’s assistant on ACCATTONE. The following year he wrote the
screenplay for his own first film THE GRIM REAPER (LA COMARE SECCA), which was
acclaimed at the Venice Film Festival and which was followed in 1964 by BEFORE THE
REVOLUTION.
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In 1968 Bertolucci was asked by Sergio Leone to write the storyline for ONCE UPON A
TIME IN THE WEST. In 1969 he directed THE SPIDER’S STRATAGEM, and then THE
CONFORMIST - an adaptation of the Alberto Moravia novel. In 1973 he encountered
enormous international critical and commercial success with the release of the
controversial LAST TANGO IN PARIS, starring Marlon Brando and Maria Schneider, which
was for a time banned in his native Italy. In 1976 he directed the modern epic 1900,
exploring the battle between the left and the Fascist movement over two generations,
which starred Robert De Niro and Gerard Derpardieu. This was followed by LA LUNA and
TRAGEDY OF A RIDICULOUS MAN.
In 1985, after four years of laborious preparation, Bertolucci embarked on his most
ambitious project, directing THE LAST EMPEROR - the true story of Pu Yi, China’s last
emperor - on location in Beijing’s Forbidden City. The film went on to become a
worldwide hit, and won nine Academy Awards, including Best Director and Best Film. In
1990 Bertolucci went on to adapt Paul Bowles’ celebrated bohemian novel THE
SHELTERING SKY, which was filmed in the Sahara Desert starring Debra Winger and John
Malkovich. In 1992 Bertolucci returned to the East to film LITTLE BUDDHA, on location in
Nepal and in the monasteries of the remote Himalayan kingdom of Bhutan. Three years
later, he was once again in Italy to shoot STEALING BEAUTY, starring Jeremy Irons, Liv
Tyler, Donal McCann and Sinead Cusack.
Bertolucci described his 1998 film BESIEGED as “a piece of chamber music for the
cinema”. Starring Thandie Newton and David Thewlis, BESIEGED was filmed on location
in Rome and Kenya.
Bernardo Bertolucci - Essential Filmography:
2000 –
1998 1995 1993 1990 1986 1981 1979 1976 -
HISTOIRE D’EAUX
BESIEGED
STEALING BEAUTY
LITTLE BUDDHA
THE SHELTERING SKY
THE LAST EMPEROR
TRAGEDY OF A RIDICULOUS MAN
LA LUNA
1900
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1972 1970 1970 1968 1967 1966 1965 1964 1962 1956 1955 -
LAST TANGO IN PARIS
THE CONFORMIST
THE SPIDER’S STRATAGEM
PARTNER
AMORE E RABBIA (episody: “Agonia”)
IL CANALE (short film)
LA VIA DEL PETROLIO (TV documentary)
BEFORE THE REVOLUTION
THE GRIM REAPER - LA COMARE SECCA
MORTE DI UN MAIALE (16mm)
LA TELEFERICA (16mm)
Screenplays:
2000 1971 1968 1966 -
THE TRIUMPH OF LOVE by Clare Peploe
L’INCHIESTA by Gianni Amico
ONCE UPON A TIME IN THE WEST by Sergio Leone
BALLATA DA UN MILIARDO by Gianni Puccini
JEREMY THOMAS – Producer
Cinema has always been a part of Jeremy Thomas' life. He was born in London into a
film-making family, his father, Ralph, and uncle, Gerald, both directors. His childhood
ambition was to work in cinema. As soon as he left school he went to work in minor
positions ending up in the cutting rooms and rising through the ranks to become a film
editor.
After editing Philippe Mora's Brother Can You Spare a Dime, he produced his first film
Mad Dog Morgan in 1974 in Australia. He then returned to England to produce Jerzy
Skolimowski's The Shout, which won the Grand Prix de Jury at the Cannes Film Festival.
Thomas' films are all highly individual and his independence of spirit has paid off both
artistically and commercially. His extensive output includes three films directed by
Nicolas Roeg: Bad Timing, Eureka and Insignificance; Julien Temple's The Great Rock
'n' Roll Swindle; Nagisa Oshima's Merry Christmas Mr Lawrence; and The Hit directed
by Stephen Frears.
In 1986 he produced Bernardo Bertolucci's epic, The Last Emperor, an independentlyfinanced project which was three years in the making. A commercial and critical
25
triumph, the film swept the board at the 1987 Academy Awards, garnering an
outstanding nine Oscars including 'Best Picture'.
Since The Last Emperor, Thomas has completed many films including Karel Reisz's
Everybody Wins, Bertolucci's The Sheltering Sky, Little Buddha. and Stealing Beauty,
David Cronenberg's Naked Lunch and was executive producer on Crash. In 1997 he
directed All The Little Animals, starring John Hurt, Christian Bale and Daniel Benzali,
which was in the official selection at the Cannes Film Festival.
In 2000 Thomas produced Takeshi Kitano’s BROTHER and Jonathan Glazer’s SEXY BEAST,
for which Ben Kingsley was nominated in the Best Supporting Actor category at the
American Academy Awards. His most recent production is YOUNG ADAM, directed by
David MacKenzie and starring Ewan McGregor and Tilda Swinton.
He was Chairman of the British Film Institute from August 1992 until December 1997 and
has been the recipient of many awards throughout the world, including the Michael
Balcon British Academy Lifetime Achievement Award. He has been President of the
jury at Tokyo, San Sebastian and Berlin Film Festival and served on the jury at Cannes.
FILMOGRAPHY : includes
FILM
2002
2001
2001
2000
2000
1999
1998
1997
1996
1996
1996
1995
1995
DIRECTOR
YOUNG ADAM
TRIUMPH OF LOVE (Exec. Producer)
RABBIT-PROOF FENCE(Exec. Prod)
BROTHER
SEXY BEAST
GOHATTO (Exec. Producer)
THE CUP (Exec. Producer)
ALL THE LITTLE ANIMALS
THE BRAVE (Exec. Producer)
BLOOD AND WINE
CRASH (Exec Producer)
THE OGRE (Exec. Producer)
STEALING BEAUTY
David MacKenzie
Clare Peploe
Phillip Noyce
Takeshi Kitano
Jonathan Glazer
Nagisa Oshima
Khyentse Norbu
Jeremy Thomas
Johnny Depp
Bob Rafelson
David Cronenberg
Volker Schlondorff
Bernardo Bertolucci
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1994
1994
1993
1991
1991
1990
1990
1987
1984
1983
1982
1982
1980
1979
1979
1978
1976
1974
ROUGH MAGIC (Exec. Producer)
VICTORY (Exec. Producer)
LITTLE BUDDHA
NAKED LUNCH
LET HIM HAVE IT (Exec Producer)
THE SHELTERING SKY
EVERYBODY WINS
THE LAST EMPEROR
INSIGNIFICANCE
THE HIT
MERRY CHRISTMAS MR LAWRENCE
EUREKA
BAD TIMING
THE KID'S ARE ALRIGHT
(Special Consultant)
THE GREAT ROCK 'N' ROLL SWINDLE
(Exec Producer)
THE SHOUT
MAD DOG MORGAN
BROTHER CAN YOU SPARE A DIME
(Editor)
Clare Peploe
Mark Peploe
Bernardo Bertolucci
David Cronenberg
Peter Medak
Bernardo Bertolucci
Karel Reisz
Bernardo Bertolucci
colas Roeg
Stephen Frears
Nagisa Oshima
Nicolas Roeg
Nicolas Roeg
Jeff Stein
Julien Temple
Jerzy Skolimowski
Philippe Mora
Philippe Mora
GILBERT ADAIR – Writer
Gilbert Adair is a novelist, essayist, poet and translator.
His novels include Love and Death on Long Island (which was made into a film starring
John Hurt), The Key of the Tower (to be filmed early next year) and A Closed Book
shortly to be filmed by Raul Ruiz.
He was formerly the film critic of The Independent on Sunday and divides his life
between London and Paris.
JEAN RABASSE – Production Designer
In addition to designing for theatre, dance, commercials and spectacles, such as 1991
Opening and Closing Ceremonies for the Winter Olympics at Albertville, Jean Rabasse
has been production designer on:
1999/0 VIDOCQ directed by Par Pitof/P.Comar
1998/9 VATEL directed by Roland Joffe
1997
ASTERIX directed by C.Zidi
1993/4 THE CITY OF THE LOST CHILDREN directed by M.Caro and JP Jeunet
1992
JE M’APPELLE VICTOR directed by Guy Jacques
27
1990
1990
1990
1990
1988
JACQUES DE NANTES directed by Agnes Varda (first assistant designer)
LA COUP SUPREME directed by J-P Sentier (executive production designer)
LE BRASIER directed by C.Barbier (prep and research/1st assistant/French)
DELICATESSEN directed by M.Caro and JP Jeunet
BORIS GUDOUNOV directed by A. Zulawski
He won the French César and European Felix for his work on DELICATESSEN, a César for
THE CITY OF THE LOST CHILDREN and a César and Oscar nomination for his work on
VATEL, with a César nomination for ASTERIX.
FABIO CIANCHETTI – Director of Photography
Essential Filmography:
2000
2000
2000
2000
1999
1999
1998
1997
1997
1997
1996
1994
1994
1991
1990
1989
1988
1987
1987
NOBEL directed by Fabio Carpi
L’AMORE PROBABLIMENTE Directed by Giuseppe Bertolucci
L’UOMO DELLA FORTUNA directed by Silvia Saraceno
CANONE INVERSO directed by Ricky Tognazzi
E ALLORA MAMBO!’ directed by Lucio Pellegrini
IL DOLCE RUMORE DELLA VITA directed by Giuseppe Bertolucci
BESEIGED directed by Bernardo Bertolucci
VIOLA BACIA TUTTI directed by Giovanni Veronesi
LA LETTERA directed by Dario Migliardi
NEL PROFUNDO PAESE STRANIERO directed by Fabio Carpi
BLUE LINE directed by Antonino Lakshen
SARAHSARA directed by Renzo Martinelli
TROPPO SOLE directed by Giuseppe Bertolucci
THE NECESSARY OF LOVE directed by Fabio Carpi
I DIVERTIMENTI DELLA VITA PRIVATA directed by Cristina Comencini
AMORI IN CORSO directed by Giuseppe Bertolucci
I CAMMELLI directed by Giuseppe Bertolucci
A FIOR DI PELLE directed by Gianluca Fumagalli
SPOSI directed by AA VV
LOUISE STJERNSWARD – Costume Designer
In addition to creating the costumes for award winning short films and commercials,
Louise Stjernsward has created costumes for many major international films most
recently:
DOT THE I directed by Matthew Parkhill
THE WARRIOR directed by Asif Kapadia,
SEXY BEAST directed by Jonathan Glazer
28
MILK directed by William Brookfield
SECRET LAUGHTER OF WOMEN directed by Peter Schwabach.
ALL THE LITTLE ANIMALS directed by Jeremy Thomas
INCOGNITO directed by John Badham
STEALING BEAUTY directed by Bernardo Bertolucci
VICTORY (1913) directed by Mark Peploe
AFRAID OF THE DARK directed by Mark Peploe
HIGH SEASON directed by Clare Peploe
THE PASSENGER directed by Michelangelo Antonioni
STUART WILSON - Sound
Stuart Wilson has worked around the world from the Amazon Jungle to the beaches of
Thailand. His credits include:
2002
2001
2001
2000
1999
1998
1998
1998
1998
1997
THE SILK ROAD directed by Michael Winterbottom
24 HOUR PARTY PEOPLE directed by Michael Winterbottom
INNOCENCE directed by Kristian Levring
BORN ROMANTIC directed by David Kane
A SHOT AT GLORY –directed byMichael Corrente
THE LAND GIRLS directed by David Leland
THIS YEAR’S LOVE directed by David Kane
THE LAST YELLOW directed by Julian Ferino
RATCATCHER directed by Lynne Ramsey
VIGO:PASSION FOR LIFE directed by Julien Temple

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