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Mathieu Kassovitz: 'I'm not proud to be French any more' Mathieu Kassovitz: 'I'm not proud to be French any more'
(21 days later)
Any doubts over Mathieu Kassovitz's feelings towards his national film industry were cleared up last year when he tweeted: "Bugger French cinema. Go fuck yourself with your shitty films." He's done with France. He's moved to Los Angeles. The tweet was in response to the César nominations, France's equivalent of the Oscars. In a field dominated by The Artist and Untouchable, Kassovitz's sober political thriller, Rebellion, received just one nomination, for best adapted screenplay.Any doubts over Mathieu Kassovitz's feelings towards his national film industry were cleared up last year when he tweeted: "Bugger French cinema. Go fuck yourself with your shitty films." He's done with France. He's moved to Los Angeles. The tweet was in response to the César nominations, France's equivalent of the Oscars. In a field dominated by The Artist and Untouchable, Kassovitz's sober political thriller, Rebellion, received just one nomination, for best adapted screenplay.
"I wasn't hurt because they didn't want to give me a César, I was hurt because they didn't care about that kind of movie any more," says Kassovitz, who has previously won three Césars and never turned up to collect them. "It's a French story. It's craftsmanship. We don't take the audience for assholes. It's a big-scale movie. You're saying you don't need movies like that? You'd rather go crazy about comedies or lookalike American movies than defend that kind of cinema?""I wasn't hurt because they didn't want to give me a César, I was hurt because they didn't care about that kind of movie any more," says Kassovitz, who has previously won three Césars and never turned up to collect them. "It's a French story. It's craftsmanship. We don't take the audience for assholes. It's a big-scale movie. You're saying you don't need movies like that? You'd rather go crazy about comedies or lookalike American movies than defend that kind of cinema?"
Brits are accustomed to viewing France's distinguished, state-subsidised film industry with envy, but Kassovitz's departure is one of a number of signals that all is not well across the Channel. Another came last December, when the country's best-known actor, Gérard Depardieu, renounced his French citizenship, heading first to Belgium, then Russia. France's new 75% tax rate was believed to be the reason, but like Kassovitz, Depardieu blamed the country's "lack of energy".Brits are accustomed to viewing France's distinguished, state-subsidised film industry with envy, but Kassovitz's departure is one of a number of signals that all is not well across the Channel. Another came last December, when the country's best-known actor, Gérard Depardieu, renounced his French citizenship, heading first to Belgium, then Russia. France's new 75% tax rate was believed to be the reason, but like Kassovitz, Depardieu blamed the country's "lack of energy".
Soon after, Vincent Maraval, the co-chief of the distribution firm Wild Bunch, wrote an inflammatory letter in Le Monde, stating that the real scandal was not Depardieu's departure but the facts that French film failed to turn a profit last year, that its actors were vastly overpaid and that its famous subsidy system wasn't working.Soon after, Vincent Maraval, the co-chief of the distribution firm Wild Bunch, wrote an inflammatory letter in Le Monde, stating that the real scandal was not Depardieu's departure but the facts that French film failed to turn a profit last year, that its actors were vastly overpaid and that its famous subsidy system wasn't working.
"France is not very exciting movie-wise," says Kassovitz. "I don't find it very sexy. I'm not challenged by the other directors, and I need to be challenged. I'm very pretentious! I like my craft, I like my films, and I want to be surprised and I want to be amazed and I want to take a fucking slap across the face when I see a movie. I don't want to be bored.""France is not very exciting movie-wise," says Kassovitz. "I don't find it very sexy. I'm not challenged by the other directors, and I need to be challenged. I'm very pretentious! I like my craft, I like my films, and I want to be surprised and I want to be amazed and I want to take a fucking slap across the face when I see a movie. I don't want to be bored."
If the French film industry lacks energy, Kassovitz certainly doesn't. Even though he's tired and yawning when I first meet him in Soho, central London, he soon gets fired up talking about his career and country. His breakthrough movie, La Haine, was as good a slap across the face as any film-maker has given in the past 20 years. Raw, bleak but vibrantly rendered, it exposed the faultlines of modern France – racial, generational, economic – against a backdrop of sterile housing estates and simmering police tension. With subsequent riots in France and Britain, its relevance has only grown.If the French film industry lacks energy, Kassovitz certainly doesn't. Even though he's tired and yawning when I first meet him in Soho, central London, he soon gets fired up talking about his career and country. His breakthrough movie, La Haine, was as good a slap across the face as any film-maker has given in the past 20 years. Raw, bleak but vibrantly rendered, it exposed the faultlines of modern France – racial, generational, economic – against a backdrop of sterile housing estates and simmering police tension. With subsequent riots in France and Britain, its relevance has only grown.
La Haine won Kassovitz the best director award at Cannes (and two of those Césars) at the age of 27. The police guards turned their backs on him in protest at the awards ceremony, but Kassovitz was still widely assumed to be the heir to Godard and Truffaut. "We should have been the next wave," he says. "We should have been the new guys. But we were not."
And what's to blame for that? "Politics, I think. I'm not really proud to be French any more. I was when I did La Haine, but nobody's fighting any more. Nobody's going in the streets to say what they want. Everybody's numb. And it's not good because when they jolt out of it, it's going to go to some extremes we don't want. I think that's where France is going right now, and I don't like it one bit. It's not what we were."And what's to blame for that? "Politics, I think. I'm not really proud to be French any more. I was when I did La Haine, but nobody's fighting any more. Nobody's going in the streets to say what they want. Everybody's numb. And it's not good because when they jolt out of it, it's going to go to some extremes we don't want. I think that's where France is going right now, and I don't like it one bit. It's not what we were."
In this light, Rebellion could be seen as a parting shot. It revisits a real-life hostage crisis that took place in 1988 in Ouvéa, a tiny island in French-ruled New Caledonia in the south Pacific. The official version suggested that French troops had bravely rescued 30 gendarmes, killing many indigenous Kanak separatists in the process. Kassovitz plays the French negotiator whose efforts to broker a peaceful outcome are undone by colonial prejudices and French domestic politics.In this light, Rebellion could be seen as a parting shot. It revisits a real-life hostage crisis that took place in 1988 in Ouvéa, a tiny island in French-ruled New Caledonia in the south Pacific. The official version suggested that French troops had bravely rescued 30 gendarmes, killing many indigenous Kanak separatists in the process. Kassovitz plays the French negotiator whose efforts to broker a peaceful outcome are undone by colonial prejudices and French domestic politics.
Kassovitz didn't make Rebellion in a fit of pique, though. In fact, it's taken him more than 10 years. He first came across the story via a human rights report. "I didn't know the story, I knew the lie," he says. "Which was a story of crazy savages 25,000km away who decapitated people and who got what they deserved. But when you know the real story, people were betrayed – the Kanaks, and some of the military."Kassovitz didn't make Rebellion in a fit of pique, though. In fact, it's taken him more than 10 years. He first came across the story via a human rights report. "I didn't know the story, I knew the lie," he says. "Which was a story of crazy savages 25,000km away who decapitated people and who got what they deserved. But when you know the real story, people were betrayed – the Kanaks, and some of the military."
Years later, an actor mentioned to Kassovitz that he had been to Ouvéa, and offered to take him there. The islanders were understandably wary of his plans. In accordance with Kanak customs, where everything must be discussed face to face, it took several years of long, intense discussions with all the clans, tribes and families involved before they agreed to help him make the film. Many of the movie's extras were related to those killed in the actual incident.Years later, an actor mentioned to Kassovitz that he had been to Ouvéa, and offered to take him there. The islanders were understandably wary of his plans. In accordance with Kanak customs, where everything must be discussed face to face, it took several years of long, intense discussions with all the clans, tribes and families involved before they agreed to help him make the film. Many of the movie's extras were related to those killed in the actual incident.
In those intervening years, as Kassovitz researched more and met the real-life negotiator he portrays, the story became less and less "dramatic", he explains. "The fantasy I had when I first read the story was like, I can see him crying and I can see the relationship between him and the rebel leader being so strong, like in Platoon or something, but it wasn't like that. The guy was a professional. He didn't express emotions. They didn't smoke a joint together. There were no heroic moments. No 'Run, Forest! Run!'"In those intervening years, as Kassovitz researched more and met the real-life negotiator he portrays, the story became less and less "dramatic", he explains. "The fantasy I had when I first read the story was like, I can see him crying and I can see the relationship between him and the rebel leader being so strong, like in Platoon or something, but it wasn't like that. The guy was a professional. He didn't express emotions. They didn't smoke a joint together. There were no heroic moments. No 'Run, Forest! Run!'"
As with La Haine, Rebellion is a story of little people on the ground suffering the consequences of big institutional decision-making. "La Haine was about police brutality; Rebellion is about government brutality," he says. "In the 20 years that separates the two movies, that's how it evolved."As with La Haine, Rebellion is a story of little people on the ground suffering the consequences of big institutional decision-making. "La Haine was about police brutality; Rebellion is about government brutality," he says. "In the 20 years that separates the two movies, that's how it evolved."
In that time, Kassovitz's career has evolved far less predictably. After his debut, Cafe au lait (which saw him labelled as a "white Spike Lee"), and La Haine, he made a couple more solid French thrillers – Assassin(s) and The Crimson Rivers. But then he suddenly cropped up directing Halle Berry in the preposterous Hollywood thriller Gothika. That was followed in 2008 by the even more troubled sci-fi film Babylon AD, starring Vin Diesel. Kassovitz publicly disowned the movie, blaming studio interference (and Vin Diesel).In that time, Kassovitz's career has evolved far less predictably. After his debut, Cafe au lait (which saw him labelled as a "white Spike Lee"), and La Haine, he made a couple more solid French thrillers – Assassin(s) and The Crimson Rivers. But then he suddenly cropped up directing Halle Berry in the preposterous Hollywood thriller Gothika. That was followed in 2008 by the even more troubled sci-fi film Babylon AD, starring Vin Diesel. Kassovitz publicly disowned the movie, blaming studio interference (and Vin Diesel).
But in stark contrast to his efforts as a director, Kassovitz also seems to have become a movie star. It happened almost accidentally. He cast himself in his own films for convenience, but others seemed to like what they saw – both his unconventionally handsome features and his calm, restrained acting style. On the strength of Cafe au lait, he was cast by Jacques Audiard in his first two films, See How They Fall (which won him the "Most Promising Actor" César a year before La Haine) and A Self-Made Hero. Then he wandered on to the set of Amélie as an extra, with the sole intention of seeing his teenage hero, Jean-Pierre Jeunet, at work. Before he knew it, Jeunet had cast him as the movie's romantic lead and he was world famous.
Since then he's worked with Luc Besson, Costa-Gavras, Steven Spielberg and Steven Soderbergh. Kassovitz is as surprised as anyone by how his acting career has panned out. "It's amazing. I was so lucky!"Since then he's worked with Luc Besson, Costa-Gavras, Steven Spielberg and Steven Soderbergh. Kassovitz is as surprised as anyone by how his acting career has panned out. "It's amazing. I was so lucky!"
Has he ever thought of just being an actor? "I wish I could do that. Being an actor is a sweet life." Surely he could if he wanted to? "No, because I'm too passionate. And maybe too scared. I'm not as interested in acting as being a director. There are so many aspects of making a movie and you get so much knowledge from people around you. Being an actor is the opposite; it's about trying to learn about yourself. As an actor I'm very easily bored, so I just work with directors that I'm interested in. I don't really care about the script or the part."Has he ever thought of just being an actor? "I wish I could do that. Being an actor is a sweet life." Surely he could if he wanted to? "No, because I'm too passionate. And maybe too scared. I'm not as interested in acting as being a director. There are so many aspects of making a movie and you get so much knowledge from people around you. Being an actor is the opposite; it's about trying to learn about yourself. As an actor I'm very easily bored, so I just work with directors that I'm interested in. I don't really care about the script or the part."
It's difficult to imagine two films that present such contrasting views of the same city as La Haine and Amélie – the former authentic urban strife, the latter honey-tinted nostalgia – but then Kassovitz is versatile to the point of contradictory. He's also supported many French and African films as a producer, including the Congolese child-soldier drama Johnny Mad Dog and the subversive socialist comedies of Kervern and Delépine (Louise-Michel, Avida). He has directed hip-hop videos, and he's been outspoken on French TV about his belief that 9/11 was an American conspiracy (I don't dare get him started on that topic), but he's also been the face of a men's fragrance for Lancôme – a gig that earned him more money than any movie and enabled him to buy a house. "Sometimes it's nice to do the opposite of what you just said," he laughs.It's difficult to imagine two films that present such contrasting views of the same city as La Haine and Amélie – the former authentic urban strife, the latter honey-tinted nostalgia – but then Kassovitz is versatile to the point of contradictory. He's also supported many French and African films as a producer, including the Congolese child-soldier drama Johnny Mad Dog and the subversive socialist comedies of Kervern and Delépine (Louise-Michel, Avida). He has directed hip-hop videos, and he's been outspoken on French TV about his belief that 9/11 was an American conspiracy (I don't dare get him started on that topic), but he's also been the face of a men's fragrance for Lancôme – a gig that earned him more money than any movie and enabled him to buy a house. "Sometimes it's nice to do the opposite of what you just said," he laughs.
Now Rebellion closes the cycle he began with La Haine, he says. He feels he has paid his dues to French cinema, though he could also have burned his bridges. And despite the debacle with Babylon AD, he loves Los Angeles. "Even though it's a city filled with bullshit, there's no bullshit in the business, because everybody knows what they're looking for. They want success and you're there to provide it for them. If you get it right, everybody wins, and if you get it wrong, it's another bad movie but nobody dies from it."Now Rebellion closes the cycle he began with La Haine, he says. He feels he has paid his dues to French cinema, though he could also have burned his bridges. And despite the debacle with Babylon AD, he loves Los Angeles. "Even though it's a city filled with bullshit, there's no bullshit in the business, because everybody knows what they're looking for. They want success and you're there to provide it for them. If you get it right, everybody wins, and if you get it wrong, it's another bad movie but nobody dies from it."
He's currently developing two features and a television series with HBO, though he won't reveal any more. As we say goodbye, I wish him luck in Hollywood. "It's not about luck," he replies with a smile. "It's about persistence."He's currently developing two features and a television series with HBO, though he won't reveal any more. As we say goodbye, I wish him luck in Hollywood. "It's not about luck," he replies with a smile. "It's about persistence."
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