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Jean-Jacques Annaud's Introduction to "The Bear"
Recorded at Gentofte Kino, Denmark,
Saturday 28. January 2023 |
Read more at in70mm.com The 70mm Newsletter
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Intro transcribed and edited for
clarity by: Mark Lyndon and Margaret Wedon, in70mm.com, London Branch |
Date:
01.07.2023 |
Jean-Jacques Annaud
and Sune Lind Thomsen, Gentofte Kino on stage. Picture: Thomas Hauerslev
Sune
Lind Thomsen, Gentofte Kino: All the way from Paris, just to be here
tonight. Please welcome Mr.
Jean-Jacques Annaud
[APPLAUSE]. Welcome - it is good to have you back here. This is really important for the Cinema, and also something that is close to
your heart – the 70MM experience. We will talk about "The Bear" of course.
Jean-Jacques Annaud. Each time I come to Copenhagen I am pleased to see so many beautiful
people and it is good to be back here.
SLT: Tell me what is it about the 70MM experience that we are going to see
tonight that is so extraordinary? What makes it very different?
JJA: Frankly, I am curious to see this movie again because the last time
I have seen it was in Los Angeles when I did the grading myself for 70MM – I checked the
timing
to optimize the print.
The movie has been shot in anamorphic
CinemaScope in 35mm,
the advantage being that standard 35mm [1,66:1 or 1,85: widescreen] has a smaller image
area on the film stock than
the anamorphic. I am
sure professionals here will know that we are using the full film [in 70mm], while in
35mm we leave space for the soundtrack.
• Go to
The Immersive Quality of 70mm
Film
• Go to
A Conversation with
Jean-Jacques Annaud, Director of "The Bear"
• Go to
GIFF 70, Gentofte
International Film Festival, Copenhagen, Denmark
Today, what makes a big difference is not only that 70MM has more definition
than when you blow up from a 35mm negative, on 70MM the image has more definition because
the positive is better. This is very technical but even if it is shot on
35mm, the 70MM print will be sharper, but the even larger difference is the
magnetic sound. I am
very sad that those movies from the '70 and '80, which were released in 70MM are lost in a way. The
transfers onto DVDs are very often in 5.1 sound or even less – very often
just
simple stereo. But here you are going to see the movie with 6 tracks. It is
like a first attempt of what we call ATMOS today with 75 speakers, and remember
in those days there were only 6 tracks – I remember I was very pleased with the sound.
Very few people got to see it in a proper cinema well equipped for 70MM. Even
in those days I think we had 400 cinemas in France, but there were only 30
cinemas that could handle the [70mm] print - with 400 cinemas playing the movie.
SLT: We will stay with the technical aspects because six track magnetic sound
is like the old tape recording but the sound is so much better. So the sound
is full and rich and very organic. When we try to transfer this into our
cinema here tonight, even though it is an old print - one of the original
prints – we will see this film with French subtitles in the English language.
That is the proper one – right?
JJA: There are at least three pages of dialogue in this movie but they are
very important. When I was pitching the movie in Los Angeles, they loved the
story and the screen play. Then they said "OK who is playing the bear?!"
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More in 70mm reading:
A Conversation with
Jean-Jacques Annaud, Director of "The Bear" (1988)
“The Bear”
(also known as “L’Ours”): The 70mm Engagements
“Quest for Fire”: The North American 70mm Engagements
GIFF 70, Gentofte
International Film Festival, Copenhagen, Denmark
in70mm.com's Library
Presented on the big screen in 7OMM
Peripheral Vision, Scopes,
Dimensions and Panoramas |
"Today,
what makes a big difference is not only that 70MM has more definition than
when you blow up from a 35mm negative, on 70MM the image has more definition
because the positive is better".
Picture: Thomas Hauerslev
SLT: Let us talk about who is playing the bear.
Even now there is an Oscar thing going on –
trying to nominate the bear as best actor of the year [1988].
JJA: This bear became very famous with the French press when he died. He was already over
20 years old when I shot the film – he was a huge bear! The biggest bear alive. When he died he made the front page.
SLT: That is true. There are also the technical aspects. Made before
CGI and there are no computer images here. It's real film and a lot of hard
work, I suppose, working with animals?
JJA: Yes. What fortunately, you do not see, are a lot of precautions to make sure
that no animal would be hurt, of course, not even feeling in danger, and that
nobody in
the crew would get hurt.
SLT: You had fun didn’t you?
JJA: I almost died!
SLT: During the two months of production?
JJA: I was a very good friend of the bear and every morning when I was getting
on set we would share our breath and he would go Argggh! - I would do the
same but I almost fainted each time. I hope my breath was not as strong as
his!
One day the photographer had to make the usual picture of the director
and the star – I had to show that my star was huge so I stood on a little
mound – of course all that protected me was a flimsy fence. So I went into
his part – his domain – I was standing but he was so high I could not see
his head. To make it even more apparent I decided to squat. I always carry my
viewfinder. I took it like this. He had never seen my viewfinder. He was
over me and I immediately understood I did something wrong. He leaned down
with his mouth open, that means you are not my friend. I knew what to do
– I decided to go limp. He stroked me on my shoulder and I went six, seven
meters down. I heard his mouth go "Ack! Ack! Ack! Ack!" His trainer said
"OK –
Good Boy! Good Boy!" Clearly he wanted to kill the director. The stench was
incredible.
SLT: The bear was 750 kilos.
JJA:
I felt that this was my mistake. Very fortunately, I had read the book
called "Bear Attacks" and they explained that the only survivors of a bear
attack were those who were playing dead! Apparently that was the only time I
was a good actor, was when I was playing dead! So he trusted that I was dead.
I know that we have an audience of young viewers and I want to say to them,
be assured we want to tell the story without hurting the animals. At the
beginning you will see a scene that will impress you. I have to tell you it
is a fake rock. The sound is done afterwards. That is not a real bear that is
under the fur. I am sorry to say that, but I know some kids who were
traumatized by that scene.
The last two months of shooting, I had to go to hospital every morning and
evening after the shoot as I was seriously wounded; otherwise I should be in a
wheelchair today! The very touching thing is that, for the rest of the shoot,
Bear never met my eyes again. Each time I was moving on the set, he looked
away like a dog feeling guilty.
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Jean-Jacques Annaud
and Sune Lind Thomsen, Gentofte Kino on stage. Picture: Thomas Hauerslev
SLT: You did
training of bears and dogs but also actors. Let us talk about
killing the director. Is it true that one of the actors was not that easy to
work with?
JJA: It was very frightening to work with a bear. You will see a scene that I
am very proud of. It is all real. You will see a bear facing a man. My actor
[Tchéky Karyo] was terrorized and had every right to be so because I built my set along the
top of a cliff. In case the bear would become angry with him, his escape
was to let himself fall into a net off the cliff. Even if the bear was very
angry, he would not fall into the net. So I devised a set where the
trainer was hidden behind the actor. And thus the scene you are going to see
is real. I had allowed for three days to shoot the scene, but did it in three hours.
The reason is that the bear had read the screen play [LAUGHTER].
The bear did exactly what I expected when he saw the guy was terrorized. He
probably smelt the fear. When we perspire there is the smell of fear. The
bear understood it, and he decided that he did not even care to kill the guy.
So I did it in one take; I had three cameras and this is what you are
going to see.
SLT: Tell me about shooting in the wild.
JJA: It was shot in Northern Italy and in Tyrol in Austria, and some wide shots
in British Columbia. I remember the Canadian Ambassador, when I did the
premier in Amsterdam; said
"I am from B.C. and I have never seen B.C. as well
and as beautifully filmed as you have done". I did not dare tell him it was
shot in the Tyrol!
SLT: You managed to bring all those cameras out there and spending a lot of
time getting the right images when you are acting with animals. Isn't there
an old show business adage to "Never cast
animals and kids!"?
JJA: We had to teach the bear how to limp because he was supposed to be hurt
by a bullet and, of course, we wanted him to play it –- to fake it -- it took
us two years to teach him; he knew about 30 words!
Smile! It was like Argggh!! and limp was the last thing he learnt. When we
asked him to limp, he would go through all his knowledge. He would roar; he
would stand; he would smile; and then at the very end he would limp, because
it was difficult for him. Another anecdote, he would see a fish or a fishy
scene - especially a larger fish like a salmon – but this bear was coming
from Utah and had never seen a fish. We made a pond in his place. We had
to teach the bear to catch the fish. Bears, especially grizzlies, are fond
of salmon. We had a fisherman on the payroll; every day he came in with a
salmon to put in the pond, but the bear would run away and hide in the back.
A 750 kilo bear and a small salmon that terrified the bear!
The bear did eat all the fish and became so full that he fell asleep. We
were stuck and could not move. There was a fence between the crew and the bear, but
still we
could not move – even when there was a big storm and we were drenched, we
could not run because everything that runs is a prey. Although the bear
was still sleeping after eating all that fish, he would have felt us run – so
we had to stay. That was the only problem we had with animals.
This is for people who know the early cinema tricks. We used split screens
and we would shoot one animal separately and another on the other side and
we would match the two images.
There were very few of those later in post. Everything you are going to see, I
saw it in front of the camera. No CGI at all. And the sound, of course, we
created later.
SLT: This is supposed to be your second movie after
“Quest for Fire”
[1981].
It took a long time to develop this film because "The Name of the Rose" came
between.
JJA: It took a long time to train the bears so I had time to shoot "The Name of
the Rose". Before "Quest for Fire", I shot two movies
["Black and White in Color", 1976 and "Hothead", 1979]; one won the Academy
Award. And then a French film that has become a sort of cult in France. My
No. 5.
And then "Name of the Rose" came in between because it took a long time to
develop this film.
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"I
shot a million feet [of film] for this movie and I became a big friend of
Kodak – a lot of Champagne every Christmas!".
Picture: Thomas Hauerslev
SLT:
"Quest for Fire" was the first one in 70MM; I read that you were the first
in France to
film a 70MM film in IMAX.
JJA: I have always loved the experience of new equipment. When I was under
contract at SONY / Columbia, my CEO [Peter Guber] said to me one day –
"Hey! JJA – you are the only
man I know who would love to shoot in IMAX and 3D".
So he flew me to Toronto.
I saw my first IMAX in 3D. I was excited – I was preparing a movie about a
French pilot [“Wings
of Courage” (1996)].
Peter Guber said "I have a project that would
fit". I said "Listen, the people at IMAX said":
'No – we are specialized in
documentaries such as the sexuality of butterflies – no actors – you can
not make it!'"
I had to fight!
Now I am still a big friend of IMAX. I went to the Giant Screen Congress eight months ago. I
started the revival of 3D. Jim Cameron became a friend because he was
excited as well - he did the first Titanic documentary underwater in 3D.
Then I was quite excited shooting; not only in 70MM but 70MM horizontal –
talking of a frame that is 15 perforations, while in 35mm you have 4 – IMAX is a
huge, huge photograph. It is a monstrosity. The cameras were the size of a Fiat 500.
SLT: Real film stock! We are going to see this in
"Oppenheimer". Hopefully in 70MM IMAX.
Christopher Nolan still does that. Will you return to that format?
JJA: Me? Anyone? I do not understand why someone would be shooting
anything other than digital. The big problem was the size of the captor
[sensor size for generating an image].
In the early days, it was too small, therefore there was no depth of field. Getting technical
here, but it is true it had a meaning in 70MM in the 1980s, because the backgrounds were
out of focus. It had a meaning to shoot in anamorphic or on 70MM. There was
less depth of field, therefore close ups were more elegant.
SLT: In this film you have loads of big spaces, shot in 35mm. I want to round
it off and talk about "The Bear", once more. You had two
actors in this film – did they stay on set a lot, or did you wrap with the
actors for the entire production?
JJA: I shot a million feet [of film] for this movie and I became a big friend of Kodak –
a lot of Champagne every Christmas! A short anecdote. I remember one day my crew was asking
me "What we are going to do today. We are in the mountains – lots of walking
and all that... " – I said "It's the little bear looking left".
They said "Is that not what we did yesterday?" – "No", I said
"It was the little bear looking right". Because it would take
a day to get the proper emotions – because the animals – you cannot say
"Jump little
bear, roll on your back, look at the landscape"; No. Because you have to manage
and make sure that the little bear will invent it! You have to be ready to
shoot it with several cameras in order to be able catch it.
SLT: How many hours did you have to spend? A lot of hours of shooting to get
it right – down to one movie.
JJA: 150 days of shooting from six o’clock early morning until sunset.
SLT: But you made an amazing film, we are going to show it now in the original
70MM version with the original sound.
Actually, are you going to watch the movie with us?
JJA: I want to – at times I re-graded the movie for different DVDs but never
with the proper sound that I worked so hard to achieve. I want to rediscover
it. The last time I saw it was about 35 years ago.
SLT: Maybe we should warn people. Today not many people are
accustomed to
seeing real film. You will see that
the images are alive. The colours are real. It
feels like a big movie. Get into the emotion and forget about the colour TV at
home. This is proper film at 24 frames per second.
JJA: Thank you.
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