When I turned Living is a solution I thought of Hotel North that I had never seen him since my childhood.
Why this film is set there by the canal Saint-Martin?
Because it is a space for relief.
Because he was about to delete it from the bridge, replacing it with a highway.
Because it is a place between past and present, between life and death, between the cinema yesterday and today’s cinema.
Because I like Arletty (to whom the film is dedicated).
Because I love Paris.
Because Paris is a huge open-air studio (Hollywood can get dressed with its acres of studios).
Because the Canal Saint-Martin still has a charm of early twentieth century when everything goes back to the beginning of the 1980s – the film was shot in November 1980 – at the end of the nineteenth century (aesthetics, fashion, decadence, thinking, etc..).
Because I needed after filming Blue Heart was in the Pyrenees mountains, to bury myself in Paris to capture the autumn light.
Because there are orange, green, light gray.
Because there was fog.
Because it’s a romantic area.
Because it is outdated.
Because there dogs.
Because real estate developers – the cannibals of the twentieth century – have not yet been able to destroy this island life.
Because it is life.
Because it is the Cinema. —Gérard Courant
He went to Paris in 1975, he participated actively in the then flourishing of French independent film community. Dans son oeuvre multiple entre le journal et la fiction (Coeur bleu, 1980 ; Les Aventures d’Eddie Turley, 1987), se détache à partir de 1978, une impressionnante série d’autoportraits assistés, en plans fixes de 3’ 25’’, d’amis et de personnalités diverses. In his work between multiple newspaper and fiction (Blue Heart, 1980 The Adventures of Eddie Turley, 1987), stands out from 1978, an impressive series of self-portraits assisted, static shots of 3 ’25’’ , friends and different personalities. Dépassant le millier dès 1988 et flanqués de séries conjointes (Portrait de groupe, Couple, Lire), ces Cinématons font de lui un témoin sympathique de la vie cinématographique de cette fin de siècle. Going beyond the thousand in 1988 and flanked by joint sets (Group Portrait, Couple, Read), these Cinématon make him a sympathetic witness the cinematic life of the late century. Gérard… read more