When you ask me at the end of the year what ranks as my number one picture, I’ll most likely point to this Cannes winner. Below is an interview which a conducted mostly in French, which means the answers are in French – and sorry a site that promotes subtitles didn’t place any in the video. In the first portion, you have the A Prophet director and co-writer Jacques Audiard answering questions and then, Tahar Rahim inserted within the same video – seeing the questions I asked after the jump:
It started by me asking Audiard, about minorities represented on film – my notion is that there aren’t that many that come out victorious with perhaps Pontecorvo’s Battle of Algiers as an expection. I would you say this was the key facet that drew you and Thomas into the project?…
From there I told Audiard, how surprised I was by how much power and influence that incarcerated people have on the outside world – and asked him if this an accurate depiction of the system…
Letting him know that I had only seen his last three films, I was wondering what attracts you do these underdogs/lone wolfs/loners/male protagonists with street smart intelligence…
I then got into the notion that Malik never goes to prison, he would have never improved his life. And while it is offset by the conditions and 6 years of hell, in the long run: “crime does pay”. He becomes powerful like Niels’ character and he also takes on responsibility for the first time by adopting a family. I was oddly thinking if there were ever concerns on how younger audiences might interpret this…
And finally I got into his thought about American independent cinema of the 70’s, and if it was something you consciously or unconsciously a main influence for this work…
When I spoke to Tahar, I was interested in how his character is a prisoner in a literal sense, but before he lands in jail – he is a “domestic” prisoner based on social conditions. He doesn’t fit in because he has lost touch with his roots. I sent him a not so loaded question on if he felt if this was a representative example of France’s cultural make-up and perhaps a key challenge for many 2nd generation immigrants…
I then wanted to know how does Jacques bring out the best in his actors? – Having seen Vincent in Sur mes levres/ Romain in The Beat that My Heart Skipped De Battre and noticed the exceptional, memorable performances from those thesps…
Then I mentioned to Tahar, how after having seen the film at Cannes – I looked up your acting credits – I’d seen the A L’interieur (The Inside) credit and wanted to know if he was a public figure with his television work. Clearly the actor is living an instant claim to fame. And finally I asked him what the hardest scene in terms of acting.
