When we are writing, we are trying to see how far we can push our ideas, our intentions, and if we think the audience will be so taken by our story what it won't run the risk of being perturbed, we keep what we wrote. In real life there are also a lot of chance encounters and coincidence, little bits of luck or little mishaps. You must just be careful to always remain plausible. You can be at the limit - the entire playful aspect of this film genre is based on this. It is up to us to determine how far you can push credibility. This is a pure cinema film, so you are in reality +1 or +2, or more. It's a bit of a matter of instinct, and of balance. Speaking of, at what point do you tell yourself "We are verging on the improbable, we are going too far"? And how do you realize it? We even asked ourselves at a certain point if her nurse of a husband shouldn't be the one helping her give birth! But we felt that might be a bit too much. When we are writing, Guillaume and I always ask ourselves the question in a simple manner: what could possibly make our "hero" run as fast as possible? What will be the greatest source of anxiety for him? So not only is his wife taken away from him, but she is pregnant on top of it! In addition, I had never seen a chase scene that involved a pregnant woman in the movies before. Guillaume's wife was pregnant at the time - I think that's what gave us the idea even though he was a bit reluctant to describe situations in which a pregnant woman is being tormented! But that's the goal with this type of a film: the more a person finds him or herself in a situation of fragility, the more playful it is to have the audience fear what will happen to him or her. Had you already come up with the idea of having his pregnant wife kidnapped? From there came the idea of the hospital where this nurse's aide is forced to help this wounded gangster leave the premises. We tried to figure out how an ordinary guy could end up linked to a real gangster, with no alternative but to join his cause and be forced to confront police and thugs with him. I think that is exactly what made us want to try! I wanted to go even further than with Anything for Her, to raise the bar a notch higher and link the fate of this everyman battling extraordinary events with someone who is everything except ordinary: a slightly melvillian gangster, a sphinx, someone who is dangerous and menacing and who does not speak very much.
We started to think it over, we talked about it to people around us and we were told "To make a film that is always going fast is not possible". Since I had really enjoyed shooting the action scenes of Anything for Her, I told Guillaume Lemans, my scriptwriting accomplice: "Our next film should be even more tense, have even more action and should entirely unfold on the rhythm of the last half hour of Anything for Her-a sort of frenzied race over the span of a day, or something along those lines". The story for Point Blank came to us while we were editing Anything for Her.
#POINT BLANK 2010 FREE#
A nurse's aide who will stop at nothing to save his pregnant and threatened wife is closer to me than James Bond, even though I love James Bond! It's a storytelling principle that is as old as the world: there is a woman imprisoned in a donjon and a guy who must free her. The audience then has an easier time identifying with them, all the more so when you have a man and a woman who are in love. Yes-it is obviously always more interesting when ordinary characters are confronted with extraordinary situations. In your eyes, is this one of the main components of a thriller or of a suspense film? Like Anything for Her, Point Blank is a love story threatened by fate. Samuel quickly finds himself pitted against rival gangsters and trigger-happy police in a deadly race to save the lives of his wife and unborn child. Knocked unconscious, he comes to and discovers that a dangerous criminal named Sartet (Zem) is responsible, and if he's ever to see his wife again, he must do Sartet's bidding. Lellouche plays Samuel, a nurse working at a hospital when his pregnant wife (Anaya) is kidnapped before his very eyes. Produced by Cyril Colbeau-Justin and Jean-Baptiste Dupont, POINT BLANK stars Gilles Lellouche, Roschdy Zem, Gerard Lanvin and Elena Anaya.
Rated: R for strong violence and some language.
#POINT BLANK 2010 MOVIE#
* Most external filmography links go to The Internet Movie Database.
0 kommentar(er)
