Vincent before Noon

DIRECTOR'S INTERVIEW

Q: The film has a very narrative art direction that manages to give the audience much information about Vincent's personality, past and also identity in a masterly way. Was it a conscious decision to not include any of this information and background in a expostional way (dialogue, flash backs etc)? (Alkis Papastathopoulos)
A: Yes of course it was conscious, I assume it comes from my film viewer’s sensitivity. I actually like and prefer films that trust people in their capability of building up their understanding of the narrative by gathering all possible narrative inputs together, including the visual ones : costumes, settings, camera movements… Vincent’s past, actual life, tastes and habits were then depicted… As far as these cinematic elements are in the frame, they’re meaningful. Maybe also I don’t like much talkative/explanatory films.

Q: I loved how all the elements of the film work together to bring to life the moments where the "mini dementia" episodes are hitting your main lead. The sounds get distorted, the editing gets more fragmental and the camera movement gets shaky and intense. Could you give us some insights on the ways you designed that scene?
(Alkis Papastathopoulos)
A: That scene is the key scene of the film as it changes fully the perception the audience and Vincent has about the father. From this point, nothing else can be the same. Its treatment required a special approach. It’s the longest shot we made, prepared like a sequence-shot, to keep the tension, to feel the mental misstep. I knew it was the trickiest scene for Jacques Bonnaffé regarding his performance : dialogs, objects handling, movements at the same time in a very specific and subtle order. We took time to rehearse this 5 minutes take. Then the camera movements, the sound treatment and the editing you mention helped eventually to emphasize the dementia effect.

Q: Sexuality defines individuality and adulthood, by setting around a fence of privacy and leaving out parents and family. This sometimes leaves the individual imprisoned within his/her own fence, miserable and helpless, with little hope to address parents or even friends for help. Do you agree with this statement?
(Kostas Akrivos)
A: As far as all types of sexuality is not a taboo and can be discussed anytime, anyone with, I don’t think there’s a risk of getting imprisoned by it. Apart from its intimate aspect that can obviously remain private, sexuality leads our social relationships, habits and way of life. Regarding this matter, it should be a casual topic of conversation as it constantly hits the daily life.

Q: As a member of the queer community I really appreciate how the relationship between Vincent and his partner isn’t cheaply overdramatized and I believe that this normalizes that relationship more in the eye of the viewer. Was that a conscious script choice?
(Eva Vlachou)
A: Definitely conscious. Vincent is gay and has a partner. The father all of sudden enters his world which includes this matter and has to deal with it – like the viewer. That’s not a topic, that’s a matter of fact. That’s not an issue, that’s Vincent’s life. I think filmmakers have an important responsibility regarding the representation and impact of LGBT narratives and characters in their films over audiences. They can help to « normalize » it, by, for example in Vincent before Noon, introducing a gay main character whose sexuality is not a problem or a topic.

Q: I would like to read some words concerning the relationship and the work process between the cinematographer and the art director.
(Eva Vlachou)
A: Actually it was a very intimate relationship on set with the cinematographer. First because of space. The location was tight and each one of the technician’s movements was potentially disturbing or invasive. Then it was obvious for me that the film had to do a lot with a subtle altern between close-ups and larger shots to get the least look, breathing, body movements that would betray inner emotions. We decided to experience as many different types of shots as possible to get the most from the actors. The main attention on set was not only the subtle connection with the DP, but the difficult balance and care between the two of us and the actors. Quite an overwhelming experience.

Q: A personal question, if you allow me one. How did you fight your way back from certain challenges you had in life?
(Kiriakos Kotsinis)
A: Filmmaking is definitely a good way to communicate and talk about oneself when words are missing - for different reasons - in real life. Secretly enhancing one’s stories, warths, fears, sadness and obviously joys is probably the most essential approach for any so-called artist. «Two short films» ago, I think I found one of my obsessions that remains painful. The father figure is not far from it.

Q: Guillaume, you not only directed this film but you are also one of the co-writers. Would you care to tell us a few things of how you came up with this idea, how you started writing it? Give us a little on the genesis of this project. (Kiriakos Kotsinis)
A: The initial script of Vincent before Noon has been written by a friend of mine Yona Rozenkier, a prolific israeli writer-director who was about to direct his first feature at that time. The first title was 11 minutes. Because he knew a bit of my obsessions, he gifted me with the script knowing I could do something out of it. I started to work on it, asking him to supervise the writing-proof. From there we became co-writers. I took over the end of the writing to adapt it to a different shooting. This first draft from Rozenkier was supposed to be shot within one single long 11 mins sequence-shot. I got rid of this technical approach to prioritize to work around the characters and their new meeting after years of silence. The cast was set during the writing, which was a great help to envision both characters in a tight space.

Q: How did you choose the song for the ending of the film?
(Greg Eleftheriou)
A: This new workstep is my fourth collaboration with the french composer Erwan Foucault. This song Roses in the Field was composed specifically for the film. This time, it is part of the narrative, as one of the elements that depicts Vincent’s world (we also hear the song at the beginning of the film when he opens the door). I decided to write the lyrics and to sing the song myself to push the process til «entering» the film.

Guillaume Mainguet,
Director of Vincent before Noon