LIVING IN ALLEN TOWN - THE SOPHIE LELLOUCH INTERVIEW

A life-long obsession with the wit and wisdom of Woody Allen has led to French director Sophie Lellouch's film debut, the eccentric Parisian romantic-comedy Paris Manhattan. In her charmingly staggered version of English, she discusses her first feature, stars Patrick Bruel and Alice Taglioni and directing her idol.

Screen-Space: What inspires you most about the works of Woody Allen? Why is he such an important author/artist/filmmaker?

Lellouch: Because I think he answers with the very words I imagine. Do you understand? When you watch a Woody Allen work, you can see and believe that everything is possible. He is a director that works a lot with dreams, poetry and the imaginary. When I saw, for the first time, The Purple Rose of Cairo, it was a shock because I remember as a young girl a dream I had to be inside of a movie, to be part of a movie. And it’s weird because a lot times and for a lot of people, he makes true your fantasy. Even for this movie, Paris Manhattan, I was inspired by Play It Again, Sam. (After that film), everyone was dreaming of having Humphrey Bogart as a friend, to help you seduce women. I immediately imagined Woody Allen as my friend.

Screen-Space: Did you ever tell Mr Allen of the depth of your adoration for him?

Lellouch: No, no. I was too shy and I think he was very shy also. We would exchange some nice words. He would say, “So, this is your first movie?” So, no, I never told him but I think he may have figured it out by now (laughs).

Screen-Space: We should get this question out of the way, I suppose. What is your favourite Woody Allen film?

Lellouch: Right now, it is Midnight in Paris. It is a beautiful, beautiful Woody Allen movie.

Screen-Space: Allen is often guilty of casting actors who are then called upon to do their own version of Allen, such as Kenneth Brannagh in Celebrity or John Cusack in Bullets Over Broadway. In casting Alice Taglioni as your leading lady, how determined were you that she would resemble or even mimic you?

Lellouch: Alice and I (pictured, right; on-set, from l-r, Patrick Bruel, Lellouch and Taglioni, seated) spent a lot of time together and she very clearly understood what I needed. Alice is not at all like her character; she is not a dreamer, she is very rehearsed and responsible. But she understood and she is very good actress. But it is true that sometimes when I saw her, I would think it is me. It is true! When you know Alice in real life, you realise her character is not her but the more I looked the more I was able to see what she was doing with the character and what she was doing with me and my words. She is a very good actress.

Screen-Space: Working with someone as experienced as your leading man, Patrick Bruel, must have been a thrill. What did he bring to both the role and the set?

Lellouch: Patrick is very charming, very natural and authentic. I needed that for the character. I needed someone who was able to fit in everywhere. When ‘Victor’ is invited for the dinner, you don’t feel uncomfortable for him; he certainly doesn’t seem uncomfortable. There is no place for him, but he still eats and he talks. He is at ease everywhere. And that’s Patrick. He has lots of qualities so it was easy working with him.

Screen-Space: You directed the very well-received short, Dieu, que la nature est bien faite!, in 1999. Some reports say you were disheartened by a tough shoot. Why the long gap between projects?

Lellouch: No, it wasn’t tough. Time, for me, is not something that is very concrete. For thirteen years, time was very good for me and I didn’t feel its passage. But the moment I felt older, I decided to make the step and make the movie. Do you understand? I am a real dreamer, not really into real life, so I didn’t have a real one year or two year strategy. Now, I am a bit more like that (laughs). And life was different, too. I had children so my life was more focussed on that. I did not feel the urgency to make a movie. I knew it would come later.

Screen-Space: So you chose as your return to directing a project that featured your idol, Mr Allen. Describe that first day on set. Did you ever have to say “Cut! Woody, can we do that one more time...?”

Lellouch: (Laughs) It was crazy! It was my first day on my first movie, so I wasn’t going to say “No, no good! Repeat please!” (laughs) I would have to do a first and second take, but it was more for Patrick (laughs). He was not the usual Patrick. He was there but he would take me aside and say, “This is hard!” It is very unusual to be playing alongside Woody Allen; we were all startstruck. But Mr Allen was perfect. He knew his text and he would always lighten the mood. He was very generous.

Paris Manhattan will be in Australian cinemas on December 13.