导演自述

“I’ve always considered Laissé inachevé à Tokyo as a kind of film school short. I mean these films that one makes to get rid of bad ideas before confronting the real questions of cinema. It’s the film of a cinephile as you can clearly see, in that my references are drawn from the classic Hollywood era, from its iconic imagery. I strangely made in my early days a postmodern film when we didn’t think yet in those terms. But when we started to, I automatically rejected them. The end result is that I’ve kept a certain guilt towards my actors who trusted me, because I didn’t know how to direct and was imposing on them abstract, lifeless dialogue. Laissé inachevé à Tokyo has nevertheless been an important film for me. I got to work for the first time with Denis Lenoir, who became the cinematographer for all of my early features, and with Luc Barnier, who edited them. Elli Medeiros was the superstar — in a Warholian way — of all of my short films and she is still one of my best friends. And because it’s a short film that people have loved, and it won awards, and also because, artistically speaking, I had a lot of fun making it. It’s the film of a graphic designer, of a visual artist if you want to be generous, influenced by the post-punk style of the times – Bazooka, for example – more than it’s a draft of my films to come.Yet, when I wrote Désordre, my first feature, it is thanks to this “successful stylistic exercise” that I was able to gain the trust of my producers and his partners. Hence I should appreciate it more.”