00:22 I've seen the cinema die 6 or 7 times.
00:25 That debate has always existed.
00:32 I remember when I realised that cinema had become an obsession.
00:39 It was by accident.
00:41 In a radio contest I won an entry
00:47 to see 'Detective' by Jean-Luc Godard.
00:49 I was like any other child,
00:51 I hated reading,
00:53 didn't like classical music,
00:55 didn't want to go to museums,
00:57 preferred to go to play football with friends...
01:01 he was a normal kid.
01:03 But for the first time I felt that I was connected to that language,
01:07 that it was speaking to me.
01:25 I think it was 2001 when I left Studio Canal.
01:28 When I said I was leaving, they asked me what I was going to do, why, and so on.
01:32 And I told them I was going to set up a small production company.
01:36 to work with new directors,
01:38 making different films and things like that.
01:40 So they said, "Why don't you do it inside Canal+?"
01:43 So we started Wild Bunch on Canal+.
01:49 When we created Wild Bunch we had a golden age.
01:53 when everything was easy,
01:55 so we didn't give value for money,
02:01 and we ended up financing meaningless films.
02:05 That's when we started to have difficulties
02:07 when we learned what our job was,
02:09 how to choose between two films,
02:12 because it's so easy to say yes to everything,
02:14 it's hard to say no to something you'd like to do.
02:35 I've seen the cinema die 6 or 7 times...
02:39 When Canal+ appeared in France, it was going to be the end of cinema.
02:45 When television channels multiplied,
02:49 it was going to be the death of cinema.
02:51 Home cinema was going to kill the cinema.
02:54 With Blu-Ray, the quality was going to be so good.
02:57 that people wouldn't go to the cinema anymore, etc...
03:00 The way I see it,
03:01 cinema does not compete with platforms, television or video,
03:07 cinema competes with restaurants,
03:09 concerts, stadiums...
03:11 You decide to go out,
03:13 and then you have the option to decide what activity you do,
03:16 or you decide to stay at home.
03:23 The main danger today is more industrial,
03:29 in terms of supply:
03:32 what do you offer in theatres versus what is offered in VOD (Video on Demand)?
03:37 For example, the concept of Netflix Original or Amazon Prime.
03:44 would have to be invented by the cinema.
03:47 When they saw the television coming
03:48 they should have started financing films with the aim of saying:
03:52 "you can only see this film in my theatres, you'll never see it on TV".
03:59 I think both industries will survive,
04:02 and our job is to keep them both in balance,
04:06 that it's not all about going against the platforms.
04:08 I, in France, am known to be in favour of the platforms.
04:12 For example, we made a French film, Madame Claude,
04:16 and we sold it to Netflix because of the pandemic,
04:19 because it was intended for theatrical release.
04:22 It's a film that would have sold 25,000 tickets in Spain,
04:27 10,000 in Italy,
04:30 in total, maybe 150,000 entries worldwide...
04:34 On Netflix, we had 20 million views in a week.
04:39 I mean, everything that I work on,
04:42 which is moving films internationally,
04:46 in the end it reaches a small elite of cinemas, in big cities,
04:52 where they like to see foreign films,
04:54 while Netflix is bringing movies to the farthest reaches of India.
04:58 To be able to democratise access to films around the world is an incredible advance.
05:15 Today, when we look at the audience, 60% are women who choose to go to the cinema.
05:19 and 40% are men.
05:21 We need women decision-makers
05:23 because they are the majority of the public, that's how it is.
05:26 And it's strange that it's not happening in Hollywood yet.
05:29 They should produce films aimed at that mainstream audience.
05:36 Why are there more male film directors?
05:39 It has to do with education, access to culture...
05:44 For me, it's changing, it's a slow process.
05:49 and it can't be forced, but I think it's changing.
05:58 The impact of the criticism is no longer important.
06:01 The critique is there to give you a clue to something,
06:05 to give you a context
06:08 or to give you something to help you appreciate the film.
06:12 In France, I have the feeling
06:14 that I can guess 80% of the reviews before showing the film.
06:23 In France, there is that which has terrible consequences,
06:27 known as 'politique des auteurs',
06:30 which translates as "everything a director does is good".
06:34 I'm a big fan of Jean-Luc Godard, but I recognise that I'm not a fan of his films.
06:38 that many of his films are difficult and sometimes bad,
06:44 but critics will always say they're good,
06:46 so what they write
06:48 is more like propaganda
06:51 than a real guide to watching the film.
06:57 Something I hate nowadays, even more so at festivals,
07:02 and it's the same with the news and everything,
07:05 it's the need to be the first to publish something.
07:08 It's done quickly, without thinking, without reflecting...
07:17 After every screening at a festival
07:20 people go running to Twitter or social media to speak their mind
07:25 and of course they haven't had time to digest it or think about it.
07:32 It's all politics.
07:33 It's very hard to work at Wild Bunch
07:37 if you don't agree with the theme of a film.
07:43 I think someone on the extreme right, or just right-wing,
07:50 would find it impossible to defend Ken Loach's position,
07:52 of the Dardenne brothers or Koreeda,
07:57 When we made 'Fahrenheit 9/11' or when we made 'City of God'...
08:01 We've made a lot of films not thinking about whether they're going to work.
08:07 but thinking: "we have to show this".
08:17 I think the audience of the San Sebastian Film Festival
08:21 doesn't have that thing I don't like about critics,
08:24 which is having preconceived ideas about what they're going to see.
08:28 there's not that 'politique des auteurs' that you can see in Cannes or Venice.
08:34 I have the feeling that the audience is more innocent,
08:39 generally younger
08:41 and have fewer preconceived ideas about what they are going to see.
08:48 It's all more natural,
08:49 so you get the feeling that you're really testing the film.
08:55 When I present a film in Venice,
08:59 I more or less know what the critics are going to say, and I know what the audience's reaction will be.
09:03 It's an audience that's mostly over 50 years old.
09:08 But when I present a film here
09:11 it's more challenging.
09:13 The crowd is more real.
09:15 In Cannes or Venice you have guests,
09:18 sponsors, guests from the city itself...
09:23 and very little real audience.
Tabakalera-denbora | Uxue Alberdi
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Tabakalera-denbora | Ted Hope 08:53
Tabakalera-denbora | Susanna Tesconi
09:20
Tabakalera-denbora | Ricardo Díez Muiño
11:15
Tabakalera-denbora | Niño de Elche 08:48
Tabakalera-denbora | Maria Ptqk
09:47
Tabakalera-denbora | Marcos García
08:49
Tabakalera-denbora | Jone San Martín
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Tabakalera-denbora | Jon Cazenave 07:43
Tabakalera-denbora | Javier Pérez Iglesias
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Tabakalera-denbora | Isabel Herguera
11:12
Tabakalera-denbora | Helena Taberna
08:28
Tabakalera-denbora | Frédéric Martel 09:04
Tabakalera-denbora | Eva Sangiorgi
07:55
Tabakalera-denbora | Dea Kulumbegashvili 09:47
Tabakalera-denbora | Christine Vachon 07:26