How did the collaboration with Louis Vuitton start?
It’s impossible to forget. On my birthday last year, my publicist called to tell me that Louis Vuitton wanted to do a seasonal campaign with me. I could hardly believe it. I immediately called my French agent, who works fairly closely with the Vuitton fashion house. Apparently, the idea had been an initiative by an advertising company employed for the campaign in question. When the Paris office heard about the idea, they actually decided to abandon the campaign in favour of an ambassador role. It was absolutely amazing.
How would you describe your style?
I have two. The first, the one for everyday life, is fairly banal. Blue or black sweatpants, the same T-shirts shrunk from washing, I rotate between two or three bomber jackets with the same hoodie underneath, every day. Or otherwise, on top of the T-shirt I wear a jumper which – despite what else is on offer or available – always ends up being one of the same four or five. The second style is the one for premieres and red carpets. That one changes constantly, and I’d say it gets simpler with age.
Which film are you most proud of today? And which is the most personal?
‘It’s Only the End of the World’ is the one which makes me feel proudest, and is the best in my opinion. But I say that about every film. I hope that will always be the case.
Are you generally nervous about how your films will be met?
I’m not nervous. I’m not afraid of the public, or of the press. But I make films for people, for others. If they don’t like them, or if they don’t go to see them, I can content myself with a few good reviews or an appearance at a prestigious festival. The life of a film exists in people’s hearts; it’s there that artworks remain in posterity. Only the public has the power to decide upon the films which will make a mark upon their generation, in some minor or major way. The films which stay with us, the films which live within us. Only the public can decide upon these things. So I’m not nervous about who does or doesn’t like my films. I’m hopeful that people like them, and go to see them. In fact I live in that hope.
What is your relationship like with social media, is it important for your work or just a personal pastime?
A little of both. I like to have a place in it, but not too seriously. Admittedly Twitter allows me, if need be, to have a rant about something, more or less tastefully I might add. I’m rather excessive in my reactions, rather Latin. My Mediterranean blood, undoubtedly…
Would you still like to act in front of the camera? Would you prefer to do so in your own films or for other directors?
Absolutely, and more than ever. And I would say for other directors. On my own, I’m so limited and I haven’t got what gives actors a goal: to surpass themselves in order to satisfy someone’s expectations. I’m hard on myself but nothing can make me surpass myself more than the desire to please someone else, and to see in the eyes of that person that they enjoy and admire my work, that I have ‘satisfied’ them. Any collaboration, and any friendship, any love, I think, is based upon the admiration we have for people, and our determination for them to admire us in return.
Is going from one film to another painful or is it rather inspiring and exciting? Inspiring and exciting. By the time a film is finished and is ready to be shown to people, for those who made it, the team and me, it’s in the past. I’ve thought about it, edited it, dressed it, visualised it, mounted it, calibrated it, mixed it, made it, unmade it, refined it, polished it, loved it, hated it. I’ve passed through all stages, all emotions, and the film itself, even though I’m proud of it, no longer stimulates me. There’s a sadness about that. But it’s then that I turn to the computer and start to write, and think about the things to follow. Then, very quickly, or less quickly, an idea appears. It comes from me, from a book, from a piece of music, or from a friend. And that idea becomes the new dream.
Photographer : Shayne Laverdiere
