Michel Hazanavicius Makes The Artist

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Parent Category: Film and the Arts

Category: Interviews

Published on Friday, 09 December 2011 16:43

Written by Brad Balfour

In making The Artist a black & white, silent movie, French director Michel Hazanavicius defied expectations. For anyone, this was not only strange concept but it seemed like a retrogressive idea, something of throwback. But this veteran French filmmaker employed a sufficent sense of irony to take the idea beyond preciousness and imbue it with a wit and charm.

Silent movie star George Valentin finds the arrival of talking pictures causes him to fade into oblivion. Though he sparks with Peppy Miller, a young dancer set for a big break, he see a reversal of fortunes as she shifts to stardom while he slips into near-poverty. From 1927 Hollywood, George and his dog stay true to each other but learn to evolve to the changing times and personalities.

Q: Were your producers shocked when you told them you wanted to make a silent movie?

MH: I spoke to the producer after the first OSS 117 film -- OSS 117: Cairo, Nest of Spies (2006) -- and he asked, "What do you want to do next?" and I said, "I would like to do a silent movie." And he said, "Yeah, okay, but what do you [really] want to do next?" and I said, "Ah, okay."  It was no use at all.

Then I made another movie. Finally I did the sequel, and both of the OSS 117s were successes. So in a way, I had an opportunity to make it after the second one, and I felt self-confident enough to decide to do it for real.

I met the first producer I spoke with after I did two OSS 117 movies. They didn't want to say no because of the success of the OSS movies, but the way they said "why not" was a little bit cold.

Then I met the producer Thomas Langmann, who finally did it. He was really hooked and wanted to see the movie. And he was crazy enough to put [up] his own money, so that's what he did.

Q: Even before the pitch, why did you think you could do this and that we would want to see it?

MH: You never know, actually. You can't be sure. I said to the producer, "First, I have to write the script, and I'll know after that if the movie's doable or not."

In writing the script, I had to find all the solutions of how to direct a silent movie, and what you're going to ask of the actors and what you're going to ask of the director.

In this case, [the director is] myself, but, in a way, it's pre-directing the movie. I had this exit in a way, and if the script was not convincing, we would never do the movie.

Everybody tells you that nobody wants to see a silent movie, that nobody wants to see a black & white movie. People think that black & white, silent movies are old, and they're right. But they're old because they were done in the 1920s, not because of the format.

The format is really good. I had the hunch that the format would allow me to do a very specific movie. You just have the hunch that there's a good movie to do. 

If you do a script with the normal paper and letters like this, when people read a script, they just read the dialogue. They never read the action, except maybe for action movies.

It was really just action here, and over three pages you have just one card. So we tried to do a nice object, and that's what we did. We did an object that respected the ratios.

It was a square paper, old paper, like a little bit yellow, typewriter letters, a little bit bigger. That makes people think that it was easy to read because they turn pages often, more often than like this. We put a lot of pictures, photos in the script. It was the producer's idea and I think it was a really good idea.

Q: The script will be a collector's item...

MH: Yes.

Q: How long did it take you to storyboard it?

MH: The script was, strangely, very fast to write -- four months, which for me is very fast, and especially because I spent a lot of time watching movies. Usually it takes me six or eight months, and it's not the dialogue that takes me four months, it's very easy to make the dialogue.

The storyboard, I don't know. I drew [them] myself, so I would say three weeks or maybe a month. But it's during the preparation, so I don't do just that. I work on the storyboard the morning and the evening and then do other things.

Q: How did you cast Jean Dujardin and Bérénice Bejo?

MH: I wrote the script with them in mind. I wanted to see them as actors in that kind of story, in that kind of element.

They have ageless faces, and are really credible in period movies. They don't have modern faces. And when you put a costume on an actor, that helps a lot. [Actors] don't move the same way [in a costume].

The other actors, the American cast, I found with casting director Heidi Levitt, who was really great. We tried to work with some expressive actors because there are a lot of great ones.

When an actor  like John Goodman says something, all of his body and face express what he's saying, so I had to work with that kind of actor. I've been very lucky that a lot of great actors joined us on that movie.

Q: Was the dog -- one of the film's best actors -- always part of it?

MH: He was in the story from the very, very beginning, in the movie before Hollywood. Hollywood came after the dog.

I didn't realize exactly how important he was at the very beginning, but now when you do the promotion of the movie, you talk and talk, and in talking, you realize things that you've done and you have another understanding of your work.

I realized that that dog is very important for two reasons. The first one is the character -- it changed the main character.

When you create a character, you don't just create one character, you are helped with the other ones, they put another light on the character.

The character of George Valentin is not very sympathetic; he's very egocentric, selfish, and he's very proud. He started the movie with a woman and he finished with another woman.

But the fact that he has a dog who loves him and follows him all over the movie, in a way, it saves him because you trust the dog. You think that the dog knows, that he has instincts, so if the dog loves him, somewhere he's a good person.

The other thing is, this dog is the only friend of George. George has a problem with sound, with the talkies, and his only friend is a character that doesn't speak either because he's a dog. So yeah, he's very important.

You think he's a good actor but he's not. He's a dog. He doesn't act, he doesn't read the script, he doesn't care about the situation, he doesn't care about his partners. He just cares about sausages. That's what he wants for real.

Q: What did it take to make a film in such a short time? It was shot in only 35 days.

MH: It’s as if you tried to paint the Mona Lisa on a roller coaster -- it's crazy. You have to go very fast. The preparation of the movie is really, really important. We always speak of the shooting, sometimes the editing, sometimes the writing. But the preparation -- you [make] all your mistakes in shooting through the preparation, so the more you prepare, the [easier] the shooting is.

That's why I storyboarded everything. We worked very quickly. It was not so difficult to edit because the movie was really well prepared and I didn't do a lot of takes because I had to go fast.

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