He told French film director Nicholas Filbert, one of the main documentary managers in the world, but he is still “humble”, and he also told an audience on Saturday at the Tsaloniki Documentary Festival, which presented him with the honorary gold prize in the previous evening.
Among the other decorations, Philibert won the European Film Award and BAFTA was nominated for “To Be and To”, and Bern Al -Dhahabi won in Berlin for “On the Aldant”.
In a discussion on Saturday, Philibert said he does not like to be described as a “monitoring movie maker.” He said he does not record the mere reality, but rather “rewritten.” Philibert, who edits his own films, added that the most important thing is to build a narration. He said diverse Later, his films can be considered a form of imagination because it is his narration of reality, and if five filmmakers are filmed in the same place at the same time, they produce five different films. “It is my own view. I decide where the camera is placed and what to be photographed. It is a fact as if I was rewriting it. He said:” Not a note. ”
“On the stigma”
With the permission of Ts Productions
He does not like excessive movement of his films, and is still open to automatic accidents, and emphasizes the need for improvisation. He said: “I plan for something accidental.” “It is good to be open to the disorder. You meet people who bother you, let you know, or give you food to think, and make you see things differently, and motivate you.”
He added: “I need a starting point, but I don’t know where you’ll take me. I am not sure that I will make the movie. I need a promising idea. The important thing is not the topic. There are no good or bad topics. We can make a good movie on a small topic or a bad movie on a big topic. The beauty of the film is not commensurate with the importance of the topic.”
He added: “I have no specific intention. The beauty of filmmaking is often associated with something unpredictable. Moments of grace are unexpected. I do not want to make a movie based on an idea, about something. I have a modest approach because I am trying to understand. I look forward to collecting something that helps me to understand the reason for my desire to make the movie.”
“To be your and you”
With permission from the films from here
For Philibert, the relationship with the well -known people in the film is the key, and therefore it needs to create a “confidence -based climate”. He added: “I need to make sure that I will create a relationship there so that people can give me and viewers something. I will use the camera to give a voice to these people and give me something I want. I cannot know what people will give it. I do not try to teach people with my films. I try to understand what these people can teach me.”
His documentary films tend to be centered around specific sites – such as school or psychiatry clinic – and a community. “To be and be present” was appointed to an elementary school in a village in France. He said that children did not take a long time to accept the camera in the school room. They were allowed to play with photography equipment first and on the same day that the shooting began.
Speaking of “Ali Al -Sama”, which is located in the center of a day care in the center of Paris for adults who suffer from a variety of mental disorders, he explained: “It is a film about humans; it is not about a psychological clinic.” He said that psychiatrists were very open to the idea of filming the film, and helped him shoot “Averroès & Rosa Parks”, which was filmed in two psychological units at ESQUIROL Hospital in Paris, “The Brigade” and “Ale. “On the stigma” is very popular with psychiatrists and was examined by many of them. It was a passport. Their doors are wide open because they trust me. They know that I will be very careful, and I will not do anything stupid. I will not imagine someone who suffers a lot. I do not imagine people without knowing it. “
He remained in contact with the people who appeared in “on the aldant” and continued to go to the clinic. “I went there a few weeks ago. The adventure continues outside the movie. There is a continuous relationship.
Early of his career, he filmed a film about a mountain climber for a TV series entitled “Les Carnets de l’avenure”, and the experience remained with him. “The depiction of a person who risks his life in front of the camera cannot be considered an emotional matter. It was difficult.” I wanted to make sure that the camera would not push him to exaggerate what he was doing. The camera affects reality. It becomes a reality of photography. It becomes a different thing. I can pay him to do more than he is able to do and put it at risk because of the camera. Will he be able to resist this pressure? Making a documentary means a responsibility towards those whom we photograph. ”
He added: “We are pushing people in the shade in the light. Some things will not be the same for them. They will never be considered in the same way. They will interact in different ways. We need to know that and put it into consideration. We have a certain responsibility for the people we photograph.”
In response to a question about when he knew that he had shot enough, he said: “I can continue forever, but there is a moment when liberation becomes a greater desire for me. Now I want to see how everything I collected together.”
