PATHE RENN PRODUCTION

Transcription

PATHE RENN PRODUCTION
presents
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VING BELL AND
THE DI
A film by JULIAN SCHNABEL
Based on the book Le Scaphandre et le papillon,
by JEAN-DOMINIQUE BAUBY
(Editions Robert Laffont, 1997)
starring
MATHIEU AMALRIC, EMMANUELLE SEIGNER, MARIE-JOSEE CROZE,
ANNE CONSIGNY, PATRICK CHESNAIS, NIELS ARESTRUP, OLATZ LOPEZ GARMENDIA,
JEAN-PIERRE CASSEL, MARINA HANDS, EMMA DE CAUNES, ISAAC DE BANKOLE,
AGATHE DE LA FONTAINE AND MAX VON SYDOW
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5 THE DIVING BELL AND THE BUTTERFLY
“Had I been blind and deaf or did it take the harsh light of disaster for me to find my true nature ?” asks
Jean-Dominique Bauby, addressing both himself and all of us. Does it take locked-in-syndrome to make a
human being conscious, to make others empathize? Do we have to get sick for the angels to appear and help us?
My father died at 92 and he had never really been sick in his life. He was happily married to my mother
for more than 60 years. Most people would sign up for his life immediately but, having never been sick, he
was unprepared and terrified of death. He lived with my wife and me at the end of his life but I failed to save
him from that fear. Life cannot just be pain, sex chaos and nothingness. There must be something else.
When Jean-Dominique Bauby was a healthy, strapping, intelligent member of society, he was a qualified
author. He was nothing more than a working writer conforming to social success. Through his paralysis and
rebirth as an eye – the point of view of what he called the butterfly – he searches his life and life’s paradoxes
accomplishing a work that has had a profound effect on anyone who has read it.
“My life was a string of near-misses… the women I was unable to love, the chances of joy I let drift
away… a race who’s result I knew beforehand but failed to bet on the winner.” An introspective look into
life. A chance at consciousness. This is the story of all of us, who surely do face death and sickness. But if we
look, we can find meaning and beauty here.
I wanted this film to be a tool, like his book, a self-help device that can help you handle your own death.
That’s what I was hoping for, that’s why I did it.
Julian Schnabel
6 THE DIVING BELL AND THE BUTTERFLY a film by JULIAN SCHNABEL
7 PRODUCTION NOTES
PRODUCTION NOTES
One year and two months in room 119 of the Berck Maritime Hospital, his “bedridden travel notes” were
complete. He died ten days after its publication. The Diving Bell and the Butterfly (Le Scaphandre et le Papillon)
was published by Les Éditions Robert Laffont in 1997 and was a great success. It was translated in many languages
and readers are universally moved by a story that might have happened to any one of us. Jean-Dominique
Bauby, the Chief Editor of an important fashion magazine, Elle, had been a seducer of women, in the prime
of life. He'd led several lives and succeeded in them all. He'd taken care of his health and his appearance. The
cerebro-vascular accident was as sudden and unjust as fate itself. And he did, in fact, see it as a sign of destiny.
He had lived his life as a journalist with frenetic passion and had never taken the measure of what was truly
essential. His children.
He can't shake this feeling of guilt. Almost a year before, he had left his home, his children and their
mother, hadn't yet had time to really start a new life. And it stopped suddenly on December 9th, 1995. Before
his stroke, he had signed a book contract with Les Éditions Robert Laffont, to do a modern adaptation, the feminine
version of The Count of Monte Cristo. Such a sacrilege might just explain his terrible punishment. “You don't
mess around with a masterpiece.” Jean-Dominique sees himself as Noirtier de Villefort, a dark figure, the
repository of grave secrets, condemned to silence and trapped in a wheelchair, communicating only with
his eyes. Bauby's book is a veritable literary act. The power of his story makes a writer out of him. A tragic
destiny turned him into an artist.
Photo : Emiliano Fernandez
The film begins like the book. A white, blinding light, a dance of color in soft focus. Strangers faces
appear, talking to us, to him. Jean-Dominique Bauby learns he is in a hospital, hooked up to machines to
help him breathe. A man dressed as a doctor comes towards him. He gives him a frank assessment of the
situation. Bauby has had a cerebro-vascular accident and has been in a coma for several months. He tries to
answer, but no one seems to hear him. The doctor explains he is suffering from an extremely rare condition.
“Locked-in syndrome” compromises the brain stem, which acts as relay between the brain and the rest of
the nervous system. The patient is entirely paralyzed, as if locked inside himself, his whole body trapped by
a sort of diving bell. In Bauby's case, only his left eyelid is functional. It is his last window on the world and
his only method of communication. One blink for yes, two for no. The brain itself, on the other hand, is in
perfect working order. Jean-Dominique Bauby can hear, understand, remember, but he can no longer speak.
Besides the left eyelid, there are two things that still function - imagination and memory. The butterfly. As
Jean-Dominique Bauby's interior dialog swings from funny to tragic, from wisdom to revolt and back again,
he decides to tell his story. Not as true-life interview “content”, but as a book, as a novel. He memorizes the
sentences of his story beforehand, then, using the system developed by his speech therapist, dictates them
letter by letter, by blinking when the correct letter is pronounced out loud.
The story of Jean-Dominique Bauby resembles that of an artist's life in the throes of a battle between
himself and others. Sickness, like mental illness or genius, is a source of exclusion and misunderstanding. To
escape his fate, to escape exterior constraint and human cruelty, one can only count on oneself. On intelligence,
creativity and heroism. Through his writing, Jean-Dominique Bauby prolongs his life outside himself, outside
his body. The power of dream and thought allows him to cross every border. He had extracted a promise
from his wife to adapt the book for film, as accomplishment of this transcendence. But the singular quality
and the authenticity of the The Diving Bell and the Butterfly precludes a classical, or “straight” adaptation. To
bring such a moving novel to the screen requires a strong aesthetic sense and another look into the formal
construction of film in an attempt to reinvent and tailor it to the needs of this story where the main character
never speaks. When Kathleen Kennedy, associated with Dreamworks, purchased the rights to the book, she
concentrated on that very problem. She signed Ronald Harwood (screenwriter on Roman Polanski's two most
recent films, The Pianist and Oliver Twist) to write the screenplay. While maintaining the basic structure of the
book, Harwood managed to pace the story between progress and immobility. Kennedy then had the idea of
asking Julian Schnabel to make the movie - only he could film the interior voyage of Jean-Dominique Bauby.
As it happens, Julian Schnabel had discovered the book in a very personal way, through a friend who has now
passed on. He is most interested by the film's off-screen narrative technique - the audience is the main
character's only confidant. No one in the film knows what's going on inside his head - only the reader or
the viewer knows. Universal first took on the project. Then it finds its way to Pathé, who produced it with
Jon Kilik, who has produced all of Julian Schnabel's films. Schnabel decided to shoot the film in French according to him, there is no other way. He chose French actors - starting with Mathieu Amalric, whom he
had spotted in 1999 at the San Sebastian Film Festival in the film Fin août début septembre (Late August, Early
September). When she worked with him in Steven Spielberg's Munich, Kathleen Kennedy immediately
thought he would be good in the role. Julian Schnabel had already told her about him.
The rest of the cast also corresponds to precise choices. Every role, without exception, is played by a
well-known actor - Emmanuelle Seigner, Marie-Josée Croze, Anne Consigny, Patrick Chesnais, Niels
Arestrup, Olatz Lopez Garmendia, Jean-Pierre Cassel, Marina Hands, Emma de Caunes, Isaach de Bankolé
and Max Von Sydow are the principle players. The photography is executed by Janusz Kaminski, who worked
on many Steven Spielberg films.
Julian Schnabel decided to make this film not only because its subject matter fits in well with the rest of
his work in film, but also because it resonated for him on a personal level. He was particularly moved by the
relationship between Jean-Dominique Bauby and his father, and the scenes between those two characters are
very moving. The formal challenge is also at the heart of the project. The first half is filmed from Jean-Dominique
Bauby's point of view. The image is sometimes out-of-focus, sometimes brilliant and colorful, sometimes
blinding and off-center. Julian Schnabel films like he paints, up close, to the skin, to the film itself. The
eroticism in shots of mouths, thighs, necks makes one think of a detail from a painting. The sets, for all
their strangeness and luxury, are magical. Jean-Dominique Bauby had named a certain spot in the Berck
Maritime Hospital “Cinecitta”. He appreciated the poetic, offbeat charm of the place, the “imaginary geography”
of a movie studio. Truly taking a position, Jean-Dominique's interior monolog is reconstituted by an off-screen
11 PRODUCTION NOTES
narrative recorded as the film was shot. We live the experience along with him, in the same time and place.
The music follows as we alternate between moments of disarray and moments of rebirth. Julian Schnabel
believes that Jean-Dominique Bauby's life began after the accident, when he becomes aware of who he really
is. He is reborn as a butterfly.
The first part is first person. Through the reciting of the alphabet and the blinking of the left eyelid,
Jean-Dominique Bauby can communicate with those around him. His word is first and foremost a sort of
writing. “My first word is 'I'. I begin with myself.” Using this technique he can get outside himself, escape
from his diving bell, come up from underwater. Roam the world, change the course of time, reach a wide
audience. The second part is shot from the outside - the camera filming Jean-Dominique Bauby in his new life
and showing that through his work as a writer he has found dignity and life. Mathieu Amalric's interpretation
is unique - split between the mastery of a deformed body and the purely oral expression of emotion.
Tragedy doesn't preclude humor, as absurd as it is necessary. This film is a lesson about life, not in the
moralistic sense, but in the energy that it conveys. One must take advantage of every instant.
Angie David
THE DIVING BELL AND THE BUTTERFLY
A film by JULIAN SCHNABEL
Based on the book Le Scaphandre et le Papillon
by Jean-Dominique Bauby
First published by Les Éditions Robert Laffont, 1997.
Certain liberties have been taken in the screenplay
with regard to some people in Jean-Dominique Bauby's entourage.
12 LE SCAPHANDRE ET LE PAPILLON un film de JULIAN SCHNABEL
13 LE SCAPHANDRE ET LE PAPILLON un film de JULIAN SCHNABEL
E S A R I N T U L
O M D P C F B V
H G J Q Z Y X K W
15 INTERVIEW WITH JULIAN SCHNABEL
INTERVIEW WITH JULIAN SCHNABEL
How did this project come to you and why did you choose to bring Jean-Dominique Bauby's story to the screen ?
I was very good friends with a man called Fred Hughes. He worked for Andy Warhol. He managed Andy
Warhol’s Factory. And Fred used to live at 15 rue du Cherche-Midi where Andy Warhol also stayed. After
Andy died, Fred - who had always had multiple sclerosis – got progressively worse until finally, he couldn’t
come to Paris anymore and he had to stay in his apartment in New York. He lived on Lexington Avenue,
around 90 th Street. And he ended up in his bed in the middle of his apartment, like Miss Havisham, he’d
be lying there and I would go and read to him. He couldn’t speak anymore. He just lay there staring out of his
eyes looking at me as I read. He had a nurse named Darin McCormack. And this man, Darin McCormack, gave
me the book The Diving Bell and the Butterfly because I used to read to Fred. I had always thought of maybe
making a film about Fred because he had such an active life and then he was just stuck in his body. A few
years ago my mother died when she was 89. And then my father. They were married for 60 years. My father,
who had cancer since he was 83 and he was almost 92, had held it at bay because he was taking care of my
mother. But now that she was gone…
I lived in my studio where I paint. My father lived there too. It was Christmas time, I needed to take my
children somewhere for their holydays and I needed somebody to watch my father because he couldn’t go
with us. I called Darin McCormack. So he came to the house and he was in the room with my father. When
the script arrived from Kathy Kennedy of The Diving Bell and the Butterfly, my father was very scared of death
and I thought if I could help him not to be scared… That’s the only thing I failed him in. He was terrified
because he’d never been sick in his life. As it happens, I had written a script for the movie Perfume which
was never used. But Bernd Eichinger, the man who owned the rights, didn’t want to make the movie I wanted
to make. There is one thing that Grenouille had in common with Jean-Dominique Bauby. In both stories,
the audience is the confidant of the main character. We know what’s going on in Grenouille’s head and we
know what’s going on in Jean-Do’s head. There were many things I wanted to put into Perfume that I was able
to put into this movie. I had the freedom. In one case the freedom of Grenouille's smell, in the other the freedom
of Jean-Do's imagination. I could go through time, I could do whatever. So for me, as a filmmaker, as an artist,
I thought it was a great opportunity to put whatever I wanted into the structure of a movie. I could make my
own structure, my own language. If I could just go into his world, I could figure it out on the way. And I knew
that I had to make the movie in France, in French, in the hospital. Because if I couldn’t do it in the hospital
where he was, I don’t think I’d get the right feeling. And the way the story’s told, even if it’s a universal story,
it was told by a French man. And I wanted to get the voice, I had to believe it myself. So I went to Berck and
I looked at the hospital and the people were very nice there and they really wanted me to do this. Nobody
wanted me to make this movie in French. The only person that really wanted me to do it in French was Jon
Kilik. Ron Harwood gave us a great script in English originally but I kept rewriting with the actors and in the
situations and finding out more about things from Claude Mendibil, Anne-Marie Perrier, Bernard Chapuis…
How did you discover Mathieu Amalric for the role of Jean-Dominique Bauby ?
First Johnny Depp was supposed to make this movie with me. Tracy Jacobs, who is Johnny’s agent, talked
with Kathy Kennedy. Johnny wanted to make the movie with me because we like to work together. I would've
surrounded him with French people and he would've spoken French. And then he was very busy with the
Pirates of the Caribbean and so he couldn't. Then Kathy Kennedy had an idea of Eric Bana or a different American
actor. But some years ago, I was on the jury at the San Sebastian film festival and I saw a movie called Fin
août, début septembre. We gave Jeanne Balibar the prize for best actress that year. But I remembered Mathieu
Amalric. And I thought immediately, “I know who should play this role.” And I mentioned his name to
Kathy, she was unaware of him. Time goes by. Then, two or three years later, they make Munich and she
meets a young actor named Mathieu Amalric. And she comes back from France. “You know I met this
French actor who’s really great. He could really do this. So we can do it in French.” I say, “What’s his name ?
And she says. “Mathieu Amalric.” I say “Yes, that’s a great idea." I called him on the phone. We all kind of
knew each other because Olivier Assayas and Jeanne Balibar came to visit me in New York years ago.
Mathieu didn’t come with them at that time but he knew of me and I knew of him. So right away he came at
Thanksgiving and we started to read the script together. And I knew if I was going to make this movie in
French I didn’t want to be a tourist. My French isn’t perfect, but I would know my text. I broke it down and
worked with every one of the actors and I went over the scenes and asked them, “What would you say in such and
such situation ?” Because the words have to come out of their mouths. So I rewrote it in a way, with everybody
that was going to be in the film. And I found things. For example, Claude Mendibil told Anne Consigny that
when she came into Jean-Do's room for the first time, the thing he said was “Pas de panique” [“Don't panic.”]
And when Anne came in and we started to do the scene, she said that to me. I suggested we put the script
away and include it. Another way I do it is like a painter. I’m in a place. I react to what’s around me. I noticed
that the sea was going out 500 meters every day then would come back in. This pontoon would disappear in
the water. And then it would appear again. And so I said “Okay.” There’s a picture of me carrying Mathieu
Amalric on my shoulders putting him on top of this pontoon with the wheelchair. In the water. That shot
was not scripted. And also the thing where the man is holding him in his arms in the pool. I just saw the pool
there and I said “Okay, put him in there”. It looked like a Pietà. Daniel, the man who performs the scene,
was Jean-Do's therapist.
What relationship did you have to the book itself ?
I went back to the book a lot. I loved that beautiful image of him looking up at the ceiling in the pool.
I wanted to find a text to go with it. And I chose the part about the cocotte-minute. And then all of a sudden
there was this other part about Eugenie that comes through. You know, when he says “Merde, it’s a dream.”
She comes in and it keeps going. And she kisses him as if he could stand and then boom, he’s back in his
chair. And he says, “Swimming up from the mist of a coma, you don’t have the luxury of having your dreams
evaporate.” I thought that the difference between these two places was thinner and thinner. You couldn’t
tell the difference between your dream life and reality. When you’re sick, it’s like that. It was like that with
my father. My father started to… I asked Darin McCormack to write down what my father said. We’re all
going to get sick someday, we’re all going to be in that situation with our point of view looking out. And we’re
going to be the center of attention and then we’re going to be invisible. It applies to anybody, whether you
knew someone who was sick or you get sick or when we’re going to get old, it’s just about consciousness. In a
sense, what Jean-Do was saying is, “When I was healthy I wasn’t alive, I wasn’t there, I was quite superficial.
But when I came back, le point de vue du papillon [the butterfly's point of view], I was reborn just as a I.”
Then he could be a great writer.
Do you consider that Jean-Dominique's story can be compared with the life of an artist ?
Yes, obviously, because writing was the thing that saved him. His interior life came alive because he started
to write the book. So it’s about the process of making art. The book gave him a raison d’être, gave life to him,
gave life to his family. Thanks to the book, they feel like he’s alive in some way. It’s a way of dealing with their grief.
And as for the rest of the cast? Besides Mathieu Amalric, how did you choose the rest of the cast, all of them French?
I love Emmanuelle Seigner in Bitter Moon. I thought she gave the best performance in France that year
and I always thought she was an under-appreciated actress. I love Marie-Josée Croze in The Barbarian
Invasions and also she was great in Munich. I saw Niels Arestrup in De battre mon coeur s’est arrêté [The Beat
That My Heart Skipped] and I thought “He’s got to be in my movie !” I saw the film I’m Not Here For You To Love
with Patrick Chesnais and Anne Consigny. I wanted them both to be in the movie. When I met Marina
Hands I thought she was adorable and I wanted to give her a role that wasn't like the things she usually does.
And I was very lucky to have Max von Sydow who was brilliant in the movie. He actually played older, he’s
not that old. And to have Jean-Pierre Cassel in the film playing two roles was a great privilege for me. I just
loved him. And everybody was so nice and so cooperative and they were doing these little parts. I felt like I
wasn’t offering them enough. Enough time, enough space on the film. Emma de Caunes, Anne Alvaro,
Zinedine Soualem, they were just so generous with me. And Georges, the waiter from La Maison du Caviar,
plays one of the France Telecom employees.
In your work as an artist, both painter and filmmaker, what is the place of literature ?
Film making is rewriting, all the time. Editing is rewriting. When I’m painting I don’t interpret, I don’t
transfer anything. I just do it and that’s it. There’s no translating going on. In writing there’s no translating if
you’re writing, say, a novel. You're not translating. But if you’re going to write something and make it into a movie,
then you’re translating a text into another form. Then once it’s translated, you can respond like you’re painting.
The colorful and blurred image, the deframing, the footage edited from archive pictures, the external and subjective
camera, are all these technical means close to your work as a painter ?
It’s not deframing, it’s framing. I found when I was making the last movie that most of the time, when
the cameraman put his camera down and I looked in the monitor that was the most interesting moment. So
I said “Could you just put the camera down ? I want the movie to look like that.” I don’t like when I see people
composing things. I want what serves the movie. Like Jean-Do didn't drive a convertible. I put him in a
convertible because I wanted to see Paris. I wanted to see the trees. And you know we also have the soundtrack
from Les 400 coups (The 400 Blows). And if you make it black and white and look at the buildings, you would
think you were seeing the credits from Les 400 coups. Which I like. It’s a lot of fun for me. In this movie, the
hero can’t move. When someone is talking to you, it doesn’t mean that you have to look at them. All he has
is his eye. If he doesn’t want to hear what they’re saying he can look away. And then I thought “Okay I can
cut people’s heads off because he can’t see.” So I could do whatever I wanted. That gave me a lot of freedom.
How did your collaboration with the director of photography work? This film called for unusual visual treatment.
I tell them what I want, they think I’m crazy at first. Like I took my glasses off and I put them on the camera.
So when you move, it’s in focus and then out of focus. It’s on the camera. For the scene where they sew up his
eye, I put latex on the lens and I sewed it up. Janusz Kaminski is a great DP, he’s inspired. The camera operator
needed a little bit of pushing. He's very talented, he just needed to believe in me. I was asking people to do
things they never did before. A particular treatment of the image was necessary to sublimate the interior life.
I used a swing and tilt lens, which means that part of it is out of focus and part of it is in focus. So it made the
whole film feel like it had a texture, it had a body, there was a skin to it. The whole screen was a skin and that’s
how I see painting. I made the room. I made the color. I build the room curved, the ceiling, and put that piece
of fluorescent light in the corner. Because some people can look out into the world and some people can look
into the corner of their room. You can find the whole world in the corner of a room. Or inside of yourself.
The Berck Maritime Hospital is an extraordinary movie set. You said you couldn't imagine shooting anywhere
but on the true-life locations of the story. Did you enjoy shooting in France ?
The place looks like an Antonioni set. I saw that terrace and I thought of L’Aventurra and I thought of all
these other movies by Antonioni. Just the horizontality, I liked that. I was thinking about how Jean-Do
would be seen. I had a great time and the French people have been wonderful to me. I love eating at “Le Duc”
and this restaurant “Napolitano”. I shot a scene in “Le Duc.” I wanted to find the best seafood restaurant in
Paris. I tried not to be a tourist.
What’s nice is that I’m 55 years-old and when I was younger and I lived in France, I wanted something,
I wanted to have a show in a gallery. I wanted to meet somebody. This time I came, I didn’t want anything. I
just came back like Rip Van Winkle, like I slept for twenty years and just came back to the same place where
I lived. Found my house. The guy in the restaurant across the street was just a little older. Everything was
almost still in its place and I felt like a ghost. But a welcomed ghost. As a painter, you don’t really meet people
every day where you form profound relationships with them. I mean working together does that. People
know your art, they’re your friends. But making this film, I formed these relationships with all these people
that were so important to me and so beautiful. I guess that’s another reason why people like making movies.
I don’t do it all the time, the last one I made was in 1999. I’m very close friends with Javier Bardem and the
people that worked with me there. And Benicio del Toro, who was in Basquiat as well. I had a great experience
with the people who worked with me here. I called one electriician Tarkovsky and another guy Artaud. I had
some wonderful helpers on this shoot, like Michel Eric who did the production design. We were very close.
Soundtrack plays an important part, as it does in all your films. It corresponds to your personal taste and gives
the film a modern punk connotation.
I like Bach and I like the Dirtbombs. In this film there is music from Lolita by Nelson Riddle, the music
from Les 400 coups and Nino Rota, from U2 and Tom Waits. I keep listening to Tom's last album, Orphans. I
choose what I like and what suits the scene. And Paul Cantelon, who wrote piano music for the film. He was
a child prodigy and then he got hit by a car when he was 12. He had total amnesia. And then at 17 he started
to get his memory back and he started playing the piano again. He plays this song for his mother, also a pianist.
He said, “Listen to this mom, I just made this one up.” She said, “Oh Paul that’s Bach”.
The credits are composed of X-rays. What does that mean ?
It means that we’re stuck inside of our bodies, all of us. There’s another level. We are co-existing with
things we never think about. And we’re all subjects, like he is, we all have our X-rays. These X-rays come
from a building that was a hundred meters away from the hospital. This building was closed for years. It
belonged to Doctor Ménard to whom it was given by some rich man whose son was in the hospital at the
beginning of the 20 th century. And then Ménard's granddaughter, or rather his granddaughter-in-law took
me there when I finished shooting two weeks early. It was like going into Miss Havisham’s place. I found
these dusty X-rays, I thought they looked like paintings. And I’m actually going to make some paintings with
them. I liked the way the letters were stamped on them.
In a photo given to him by his father, Jean-Dominique Bauby as a child is portrayed by Elvis Polanski. The picture
is also the poster for the film.
Elvis Polanski is a song-and-dance man. He was in the car with me singing Singin' in the Rain. I said
“Can you do that in French ?” He sings, Je chante sous la pluie… I thought to show the little boy singing and
dancing, it’s even more tragic when you see him as an adult, absolutely paralyzed. And Elvis was great. I love
him. He’s brilliant.
What is your relationship with spirituality ? In the book, Jean-Do seems to believe in countless gods, people pray
for him in all the religions of the world, he who had been an atheist. I'm thinking of the scenes in Lourdes in particular.
I’m not interested in organized religion. But if it helps people, I don't mind. I would like to be more spiritual.
I would like to believe. I believe in the good, I believe in my father, I believe in myself and in my own limits.
I believe in goodness. I believe that we can, that we should treat people better. What comes out of the film
is that the amount of empathy that this man was shown shows how people can be good to each other. I like
that. I believe people can be good to each other and patient and giving, the way these women gave him their
time, really tried to help him. They cared about what they were doing and it wasn’t about them. I like that.
That’s spirituality.
27 FILMOGRAPHIES
MATHIEU AMALRIC
2007 L’Ennemi public numéro 1
Jean-François Richet
Un conte de Noël
Arnaud Desplechin
2006 Le Rêve de la nuit d'avant
Valeria Bruni Tedeschi
Un secret
Claude Miller
L'Histoire de Richard O.
Damien Odoul
La Question humaine
Nicolas Klotz
The Diving Bell and The Butterfly
Julian Schnabel
(Le Scaphandre et le papillon)
Le Grand appartement
Pascal Thomas
Fragments sur la grâce
Vincent Dieutre
2005 Michou d'Auber
Thomas Gilou
The Singer (Quand j'étais chanteur)
Xavier Giannoli
Marie-Antoinette
Sofia Coppola
Munich
Steven Spielberg
I Saw Ben Barka Get Killed
Serge Le Péron
(J'ai vu tuer Ben Barka)
2004 Au large de Bad Ragaz
François-Christophe Marzal
The Moustache (La Moustache)
Emmanuel Carrère
Le Pont des arts
Eugène Green
2003 Kings and Queen (Rois et reine)
Arnaud Desplechin
My Children Are Different
Denis Dercourt
(Mes enfants ne sont pas comme les autres)
2002 A Sight for Sore Eyes (Inquiétudes)
Gilles Bourdos
Lulu
Jean-Henri Roger
Un homme, un vrai
Jean-Marie Larrieu
2001 Special Delivery (C'est le bouquet !)
Jeanne Labrune
Shipwrecked On Route D17
Luc Moullet
(Les Naufragés de la D17)
Monday Morning (Lundi matin)
Otar Iosseliani
Boyhood Loves (Amour d'enfance)
Yves Caumon
2000 Roland's Pass (La Brèche de Roland)
Jean-Marie Larrieu
The Marcorelle Affair (L'Affaire Marcorelle) Serge Le Péron
1999 False Servant (La Fausse suivante)
Benoît Jacquot
Farewell, Home Sweet Home
Otar Iosseliani
(Adieu plancher des vaches !)
1998 Trois ponts sur la rivière
Jean-Claude Biette
Late August, Early September
Olivier Assayas
(Fin août début septembre)
Alice and Martin (Alice et Martin)
André Téchiné
1997 Only God Sees Me (Dieu seul me voit)
Bruno Podalydès
On a très peu d'amis
Sylvain Monod
1996 Genealogies of a Crime
Raoul Ruiz
(Généalogies d'un crime)
My Sex Life… or How I Got Into an Argument Arnaud Desplechin
(Comment je me suis disputé… ma vie sexuelle)
Tom est tout seul
Fabien Onteniente
1995 Le Journal du séducteur
Danièle Dubroux
1993 Letter for L… (Lettre pour L…)
Romain Goupil
1992 La Sentinelle
Arnaud Desplechin
La Chasse aux papillons
Otar Iosseliani
1984 Les Favoris de la lune
Otar Iosseliani
EMMANUELLE SEIGNER
2006 The Diving Bell and The Butterfly
Julian Schnabel
2005 Backstage
Emmanuelle Bercot
The Passionate Life of Edith Piaf (La Môme) Olivier Dahan
Four Last Songs
Francesca Joseph
2004 And They Lived Happily Ever After
Yvan Attal
(Ils se marièrent et eurent beaucoup d'enfants)
2002 Les Immortels
Antonio-Pedro Vasconcelos
Body to Body (Corps à corps)
François Hanss and Arthur-Emmanuel Pierre
2001 Laguna
Dennis Berry
Streghe Verso Nord
Giovanni Veronesi
1999 Buddy Boy
Marc Hanlon
1998 The Ninth Gate (La Neuvième porte)
Roman Polanski
1997 Place Vendôme
Nicole Garcia
1996 Nirvana
Gabriele Salvatores
RPM
Robert Young
The Gods Must Be Daring
Michel Deville
(La Divine poursuite)
1995 Pourvu que ça dure
Michel Thibaud
1993 The Smile (Le Sourire)
Claude Miller
1991 Bitter Moon (Lunes de fiel)
Roman Polanski
1989 Dark Illness (Il Male Oscuro)
Mario Monicelli
1987 Frantic
Roman Polanski
1986 Cours privé
Pierre Granier-Deferre
1985 Détective
Jean-Luc Godard
29 FILMOGRAPHIES
MARIE-JOSÉE CROZE
2007 The New Protocol (Le nouveau protocole)
Thomas Vincent
Deux jours à tuer
Jean Becker
Julian Schnabel
2005 Munich
Steven Spielberg
Jacquou le croquant
Laurent Boutonnat
Tell No One (Ne le dis à personnne)
Guillaume Canet
Moon on the Snow (La Mémoire des autres) Pilar Anguita-McKay
2004 Birds of Heaven (Les Oiseaux du ciel)
Eliane de Latour
La Petite chartreuse
Jean-Pierre Denis
2003 Ordo
Laurence Ferreira Barbosa
Mensonges et trahisons
Laurent Tirard
2002 The Barbarian Invasions
Denys Arcand
(Les Invasions barbares)
Ascension
Karim Hussain
Nothing
Vicenzo Natali
Taking Lives
DJ. Caruzo
2001 Ararat
Atom Egoyan
2000 Maelstrom
Denis Villeneuve
Wolves in the Snow (Des chiens dans la neige) Michel Welterlin
1999 HLA identique
Thomas Briat
1993 La Florida
Georges Mihalka
ANNE CONSIGNY
2007 Un conte de Noël
Coupable
Anna M
2005 Du jour au lendemain
On va s’aimer
2004 Je ne suis pas là pour être aimé
2003 The Light (L'Équipier)
2002 Le Bison
Playing 'In the Company of Men'
(La Compagnie des hommes)
36, quai des Orfèvres
1985 The Satin Slipper (Le Soulier de satin)
Arnaud Desplechin
Julian Schnabel
Laetitia Masson
Michel Spinosa
Philippe Le Guay
Ivan Calberac
Stéphane Brizé
Philippe Lioret
Isabelle Nanty
Arnaud Desplechin
Olivier Marchal
Manuel De Olivera
31 FILMOGRAPHIES
PATRICK CHESNAIS
NIELS ARESTRUP
Selective filmography
Héros
Le Prix à payer
2005 J'invente rien
On va s'aimer
2004 Je ne suis pas là pour être aimé
Tu vas rire mais je te quitte
2003 Mariage mixte
2002 The Landlords
(Mille millièmes, fantaisie immobilière)
2001 Le Ventre de Juliette
Very Opposite Sexes (Sexes très opposés)
Irène
2000 Te quiero
Charming Fellow (Charmant garçon)
1999 Kennedy and I (Kennedy et moi)
The Children of the Century
(Les Enfants du siècle)
1996 Post Coitum (Post coitum, animal triste)
1993 Life's Little Treasures (Aux petits bonheurs)
1992 Drôles d'oiseaux !
The Beautiful Story (La Belle histoire)
1990 Triplex
La Pagaille
Netchaiev Is Back (Netchaïev est de retour)
Promotion canapé
Le Sixième doigt
Feu sur le candidat
There Were Days… and Moons
(Il y a des jours… et des lunes)
1989 L'Autrichienne
1988 Thank You Satan
Embrasse-moi
Les Cigognes n'en font qu'à leur tête
The Reader (La Lectrice)
1982 Les Sacrifiés
1979 First Voyage (Premier voyage)
The Imprint of Giants
(L'Empreinte des géants)
Cocktail Molotov
Out of Whack (Rien ne va plus)
1978 Make Room for Tomorrow
(Au bout du bout du banc)
Dossier 51
1976 Monsieur Albert
Julian Schnabel
Bruno Merle
Alexandra Leclère
Michel Leclerc
Ivan Calbérac
Stéphane Brizé
Philippe Harel
Alexandre Arcady
Rémy Waterhouse
Martin Provost
Eric Assous
Ivan Calbérac
Manuel Poirier
Patrick Chesnais
Sam Karmann
Diane Kurys
Brigitte Roüan
Michel Deville
Peter Kassovitz
Claude Lelouch
Georges Lautner
Pascal Thomas
Jacques Deray
Didier Kaminka
Henri Duparc
Agnès Delarive
Claude Lelouch
Pierre Granier-Deferre
André Farwagi
Michèle Rosier
Didier Kaminka
Michel Deville
Okacha Touita
Nadine Trintignant
Robert Enrico
Diane Kurys
Jean-Michel Ribes
Peter Kassovitz
Michel Deville
Jacques Renard
2006 The Bourne Ultimatum
The Candidate (Le Candidat)
2005 Antonin's Stories
(Les Fragments d’Antonin)
The Beat That My Heart Skipped
(De battre mon cœur s’est arrêté)
2004 La Part animale
2002 Speak to Me of Love (Parlez-moi d’amour)
2000 Lulu Kreutz's Picnic
(Le Pique nique de Lulu Kreutz)
1991 Meeting Venus (La Tentation de Vénus)
1988 Foreign City (Ville étrangère)
1987 La Rumba
1984 The Future Is Woman (Il Futuro è donna)
1980 Seuls
The Woman Cop (La Femme flic)
1979 Memoirs of a French Whore (La Dérobade)
1976 The Big Night (Le Grand soir)
1974 I, You, She, He (Je, tu, il, elle)
Stavisky (L’Affaire Stavisky)
Paul Greengrass
Julian Schnabel
Niels Arestrup
Gabriel Le Bonin
Jacques Audiard
Sébastien Jaudeau
Sophie Marceau
Didier Martiny
Ivan Szabo
Didier Goldscmitt
Roger Hanin
Marco Ferreri
Francis Reusser
Yves Boisset
Daniel Duval
Francis Reusser
Chantal Ackerman
Alain Resnais
OLATZ LOPEZ GARMENDIA
2000 Before Night Falls
Julian Schnabel
Julian Schnabel
MARINA HANDS
2005 Tell No One (Ne le dis à personne)
Lady Chatterley
2004 Les Ames grises
2002 The Barbarian Invasions
(Les Invasions barbares)
2001 At My Finger Tips (Sur le bout des doigts)
1999 Fidelity (La Fidélité)
Julian Schnabel
Guillaume Canet
Pascale Ferran
Yves Angelo
Denys Arcand
Yves Angelo
Andrzej Zulawski
33 FILMOGRAPHIES
JEAN-PIERRE CASSEL
MAX VON SYDOW
2006 Les Sapins bleus
Asterix at the Olympic Games
(Astérix aux Jeux Olympiques)
Counter-investigation (Contre-enquête)
Bad Faith (Mauvaise foi)
2005 Gone for a Dance
(J’aurais voulu être un danseur)
2004 Call Me Agostino
Virgil
2003 Narco
Michel Vaillant
2000 Crimson Rivers (Les Rivières pourpres)
Sade
1998 The Ice Rink (La Patinoire)
1994 A Judgment in Stone (La Cérémonie)
Prêt-à-Porter
1993 Blue Helmet (Casque bleu)
1991 Vincent & Theo
1987 Chouans !
1983 Vive la sociale !
1982 The Trout (La Truite)
1978 Who Is Killing the Great Chefs of Europe ?
1975 The Twist (Folies bourgeoises)
1974 Love at the Top (Le Mouton enragé)
Murder on the Orient Express
1973 The Three Musketeers
1972 The Discreet Charm of the Bourgeoisie
1970 The Bear and the Doll (L'Ours et la poupée)
1969 The Shadow Army (L'Armée des ombres)
1967 The Killing Game (Jeu de massacre)
1965 Is Paris Burning ? (Paris brûle-t-il ?)
The Lace Wars (Les Fêtes galantes)
Those Magnificent Men
in Their Flying Machines
1964 Cyrano et d'Artagnan
1962 Arsene Lupin vs. Arsene Lupin
(Arsène Lupin contre Arsène Lupin)
1961 Five Day Lover (L'Amant de cinq jours)
The Elusive Corporal (Le Caporal épinglé)
1960 The Joker (Le Farceur)
The Lovers (Les Jeux de l'amour)
1957 On Foot, on Horse, and on Wheels
(A pied, à cheval et en voiture)
Romuald Beugnon
Julian Schnabel
Frédéric Forestier and Thomas Langmann
Franck Mancuso
Roschdy Zem
Alain Berliner
Christine Laurent
Mabrouk el Mechri
Gilles Lellouche
Louis-Pascal Couvelaire
Mathieu Kassovitz
Benoît Jacquot
Jean-Philippe Toussaint
Claude Chabrol
Robert Altman
Gérard Jugnot
Robert Altman
Philippe de Broca
Gérard Mordillat
Joseph Losey
Ted Kotcheff
Claude Chabrol
Michel Deville
Sidney Lumet
Richard Lester
Luis Buñuel
Michel Deville
Jean-Pierre Melville
Alain Jessua
René Clément
René Clair
Ken Annakin
Abel Gance
Edouard Molinaro
Philippe de Broca
Jean Renoir
Philippe de Broca
Philippe de Broca
Maurice Delbez
2006 Rush Hour 3
Emotional Arithmetic
2005 Heidi
2003 Intact (Intacto)
2002 Minority Report
2001 Hidden Children (La fuga degli Innocenti)
Druids
(Vercingétorix : la légende du druide roi)
2000 Snow Falling on Cedars
1998 What Dreams May Come
1996 Jerusalem
1995 Judge Dredd
1994 Time is Money
1991 Until the End of the World
1987 Pelle the Conqueror
1986 Hannah and Her Sisters
1983 Circle of Passions (Le Cercle des passions)
1980 Flash Gordon
Deathwatch (La Mort en direct)
1976 The Desert of the Tartars
(Il Deserto dei Tartari)
Voyage of the Damned
1975 Three Days of the Condor
1974 Steppenwolf
1973 The Exorcist
1969 The Passion of Anna (En Passion)
1968 Shame (Skammen)
1966 Hawaii
1965 The Greatest Story Ever Told
1959 The Virgin Spring (Jungfrukällan)
1956 The Seventh Seal (Det Sjunde Inseglet)
Brett Ratner
Julian Schnabel
Paolo Barzman
Paul Marcus
Juan Carlos Fresnadillo
Steven Spielberg
Dario Argento
Jacques Dorfmann
Scott Hicks
Vincent Ward
Bille August
Danny Cannon
Paolo Barzman
Wim Wenders
Bille August
Woody Allen
Claude d'Anna
Mike Hodges
Bertrand Tavernier
Valerio Zurlini
Stuart Rosenberg
Sydney Pollack
Fred Haines
William Friedkin
Ingmar Bergman
Ingmar Bergman
George Roy Hill
George Stevens
Ingmar Bergman
Ingmar Bergman
35 FILMOGRAPHIES
ISAACH DE BANKOLE
EMMA DE CAUNES
2006 L'Age des ténèbres
M. Bean’s Holiday
2005 The Science of Sleep (La Science des rêves)
Short Order
2003 My Mother (Ma mère)
2001 Asterix & Obelix : Mission Cleopatra
(Asterix et Obelix : mission Cléopâtre)
Lovers of the Nile (Les Amants du Nil)
2000 Pretend I'm Not Here
(Faites comme si je n'étais pas là)
Princesses (Princesses)
Unleaded (Sans plomb)
1999 Mondialito
1998 Milestones (Mille bornes)
Restons groupés
1997 La Voie est libre
Brother (Un frère)
Denys Arcand
Julian Schnabel
Steve Bendelack
Michel Gondry
Anthony Byrne
Christophe Honoré
Alain Chabat
Eric Heumann
Olivier Jahan
Sylvie Verheyde
Muriel Teodori
Nicolas Wadimoff
Alain Beigel
Jean-Paul Salomé
Stéphane Clavier
Sylvie Verheyde
AGATHE DE LA FONTAINE
2000 I Love Andrea (Io Amo Andrea)
1998 Train of Life (Train de vie)
Another 9 1/2 Weeks (Love in Paris)
1994 Killer Kid
Julian Schnabel
Francesco Nutti
Radu Mihaileanu
Anne Goursaud
Gilles de Maistre
2006 Toussaint
Casino Royale
2005 Miami Vice
Stay
Manderlay
Before it Had a Name
Black Widow
2004 Homework
2002 Coffee and Cigarettes
2001 3 A.M.
2000 Bàttu
Traveling Miles : Cassandra Wilson
1999 Ghost Dog : The Way of the Samurai
A Soldiers’s Daughter Never Cries
1998 Otomo
1995 The Keeper
1994 Down to Earth (Casa de Lava)
1990 Night On Earth
No Fear, No Die (S'en fout la mort)
1989 Vanille fraise
Comment faire l'amour
avec un nègre sans se fatiguer
1988 Ada in the Jungle (Ada dans la jungle)
1987 Chocolat
Les Keufs
1986 Taxi Boy
Black Mic Mac (Black mic-mac)
Noir et Blanc
1984 The Bill (L'Addition)
Asphalt Warriors (L'Arbalète)
Danny Glover
Julian Schnabel
Martin Campbell
Michael Mann
Marc Forster
Lars von Trier
Giada Colagrande
Giada Colagrande
Kevin Asher Green
Jim Jarmusch
Lee Davis
Cheick Oumar Sissoko
Isaach de Bankolé
Jim Jarmusch
James Ivory
Frieder Schlaich
Joe Brewster
Pedro Costa
Jim Jarmusch
Claire Denis
Gérard Oury
Jacques W. Benoît
Gérard Zingg
Claire Denis
Josiane Balasko
Alain Page
Thomas Gilou
Claire Devers
Denis Amar
Sergio Gobbi
41 THE DIVING BELL AND THE BUTTERFLY
JULIAN SCHNABEL
Julian Schnabel was born in Brooklyn, NY in 1951. At 15, he moved with his family to Brownsville, Texas.
He attended the University of Houston, receiving a BFA, and returned to New York in 1973 to participate in
the Whitney Museum Independent Study Program. In 1978 Schnabel made the first plate painting, “The
Patients and the Doctors.” His first solo painting exhibition took place in 1979 at the Mary Boone Gallery,
New York City. Since then M. Schnabel’s work has been exhibited all over the world. His paintings, sculptures
and works on paper have been the subject of retrospective exhibitions at the Centre Georges Pompidou,
Paris ; The Whitechapel Gallery, London ; The Stedelijk Museum, Amsterdam ; The Tate Gallery, London ;
and The Whitney Museum of American Art in New York. In 1996 he wrote and directed the feature film
Basquiat about fellow New York artist Jean Michel Basquiat. M. Schnabel’s second film, Before Night Falls
won the Grand Jury Prize at the Venice Film Festival 2000 and earned Javier Bardem an Academy Award
nomination for best actor. In 2004 a retrospective of Schnabel’s paintings took place at the Schirn
Kunsthalle, Frankfurt ; Palacio Velazquez, Madrid ; and Mostra d’Oltremare, Napoli. This summer exhibitions
of Schnabel’s paintings and sculpture are taking place at the Palazzo Venezia, Rome ; Schloss Derneburg,
Derneburg, Germany ; Rotonda della Besana, Milan ; Tabacalera, San Sebastian, Spain.
Schnabel lives with his wife Olatz and their family in New York City and Montauk, New York, and San
Sebastian, Spain.
THE PRODUCERS
KATHLEEN KENNEDY
Kathleen Kennedy’s record of achievement has made her one of the most successful executives in the film
industry today. Among her credits are three of the highest-grossing films in motion picture history: E.T.,
Jurassic Park and The Sixth Sense.
Kennedy currently heads The Kennedy/Marshall Company, which she founded in 1992 with director/producer
Frank Marshall. Under their banner, she has produced such films as Congo, The Indian in the Cupboard, Snow
Falling on Cedars, A Map of the World, The Sixth Sense, and Seabiscuit.
Kennedy began a successful association with Steven Spielberg in the 1970s resulting in the Indiana Jones
trilogy, the Back to the Future trilogy, The Color Purple and Empire of the Sun, to name just a few.
Kennedy served as a producer on the critically acclaimed Spielberg-directed Holocaust drama Schindler’s
List, The Bridges of Madison County, directed by Clint Eastwood, the Jan DeBont-directed action thriller
Twister, Spielberg’s A.I. Artificial Intelligence, War of the Worlds, and the critically acclaimed Spielberg film,
Munich.
The Kennedy/Marshall Company is currently in production on Paul Greengrass’ The Bourne Ultimatum, The
Spiderwick Chronicles, based on the popular series of children’s books, David Fincher’s The Curious Case of
Benjamin Button, Crossing Over, directed by Wayne Kramer, and the fourth installment in the Indiana Jones
series.
Kennedy’s recently completed projects include The Diving Bell and the Butterfly and the English-language
version of the French animated film Persepolis, which is based on Marjane Satrapi’s autobiographical graphic
novel about a young girl growing up during the Iranian Revolution.
Kathleen Kennedy is a member of the Academy of Motion Pictures’ Producers Branch Executive Committee
and the Academy’s Board of Governors. She recently completed her tenure as President of the Producers
Guild of America, which bestowed upon her its highest honor, the Charles FitzSimons Service Award, in 2006.
JON KILIK
Jon Kilik most recently produced Alejandro Gonzalez Inarritu’s Babel, starring Brad Pitt, Cate Blanchett,
Gael Garcia Bernal and koji Yakusho. Babel won the Golden Globe award for Best Picture – Drama and was
nominated for seven Academy Awards, including Best Picture. Kilik is one of this country’s top independent
producers, having collaborated with a wide range of auteur filmmakers. He has served as a producer on 12 of
Spike Lee’s films in a collaboration that dates back to Do the Right Thing. Among their subsequent films together
have been Inside man, Malcolm X, Clockers, He Got Game and 25 th Hour. Kilik has produced two films directed by
Tim Robbins : The Academy Award – winning Dead Man Walking and the ambitious journey into the New York
City theatre world of the 1930s, Cradle Will Rock, Kilik has also produced both films directed by Julian Schnabel
before The Diving Bell and The Butterfly : Basquiat, starring Jeffrey Wright as artist Jean-Michel Basquiat, and
Before Night Falls, for which Javier Bardem earned an Academy Award nomination for Best Actor. Kilik’s other
films as producer include Robert De Niro’s A Bronx Tale ; Gary Ross’award-winning Pleasantville ; Ed
Harris’Academy Award winner Pollock ; Chris Eyre’s Skins ; Oliver Stone’s Alexander ; and Jim Jarmusch’s
Cannes Grand Prix winner, Broken Flowers.
43
45
CAST
Mathieu Almaric
Emmanuelle Seigner
Marie-Josée Croze
Anne Consigny
Patrick Chesnais
Niels Arestrup
Olatz Lopez Garmendia
Jean-Pierre Cassel
Marina Hands
Max Von Sydow
Isaach de Bankolé
Emma de Caunes
Jean-Philippe Ecoffey
Gérard Watkins
Nicolas Le Riche
François Delaive
Anne Alvaro
Françoise Lebrun
Zinedine Soualem
Agathe de la Fontaine
Franck Victor
Laure de Clermont
Théo Sampaio
Fiorella Campanella
Original music
Executive Producers
Production Manager
Julian Schnabel
Ronald Harwood
Jean-Dominique Bauby
Éditions Robert Laffont (1997)
Kathleen Kennedy and Jon Kilik
Léonard Glowinski
Janusz Kaminski
Juliette Welfing
Michel Eric - Laurent Ott
Julian Schnabel
Olivier Beriot
Jean-Paul Mugel
Francis Wargnier
Dominique Gaborieau
Paul Cantelon
Pierre Grunstein – Jim Lemley
François-Xavier Decraene
In co-production with
With the support of
With the participation of
In association with
In association with
FRANCE 3 CINEMA – CRRAV Nord-Pas de Calais
La Région Nord-Pas de Calais
CANAL+ and CINECINEMA
BANQUE POPULAIRE IMAGES 7
The Kennedy/Marshall Company and Jon Kilik
Director
Screenplay
Based on the book by
Dossier de presse : Patrick Tanguy Nuit de Chine. Photos : Étienne George.
Jean-Dominique Bauby
Céline Desmoulin
Henriette Durand
Claude
Doctor Lepage
Roussin
Marie Lopez
Father Lucien
Joséphine
Papinou
Laurent
Empress Eugenia
Doctor Mercier
Doctor Cocheton
Ninjinski
Nurse
Betty
Mrs. Bauby
Joubert
Ines
Paul
Diane
Théophile
Céleste
CREW
Produced by
Associate Producer
Director of Photography
Editor
Set Design
Titles & credit sequence designed by
Costumes
Sound

PATHE RENN PRODUCTION

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