In the Song of The wolf, François Civil embodies Chanteraide, the golden ear. This submariner is in charge of deciphering the sounds from the seabed. Meeting with the young actor and director, Antonin Baudry. The Song of the wolf is the first feature film directed by Antonin Baudry, screenwriter of the Quai d’orsay by Bertrand Tavernier. The director is a former diplomat under the government led by Dominique De Villepin. After this first political career, Baudry, passionate about cinema, went to see the producer Jérôme Seydoux, to offer him this story : “I’ve told him what I wanted to do. I told her the images, the story, the characters, the sounds. He listened to me carefully without saying anything. It was a very strong moment. In the end he pleated his eyes, I saw him think about it. He asked me to write the screenplay. It was a party.” AlloCiné : How to manage a cast as prestigious for a first feature film ? Mathieu Kassovitz, director himself, has he not been tempted to interfere in your work ? Antonin Baudry : I’ve had the chance to have actors as great. They have all been in the service of the film. Mathieu was just as much as the other. He has never tried to interfere in anything. He was always focused, he played his role, he took his music… We talked a lot about the film before the shooting avenc Mathieu, Reda Kateb, Omar Sy, François Civil… and once on the plateau, everyone does what he has to do. There is a conductor, and each plays its partition. You cite Hong Kong cinema as a major influence… John Woo, Tsui Hark, Wong Kar Wai… what style has he influenced your way of putting the scene in the Song of The wolf ? I have the impression that there is a report to the energy that is a little different than it was in the French cinema or american. Very often, the dimension in which is mounted the film is based on the energy and not just the time. It is something that makes me vibrate each time. The asian movies that I have nourished are especially the first long films of John Woo… very often stories of friendship sacrificial. Every time one sticks too rigidly to a system, it is possible to trigger disaster. This is something that affects me greatly each time. People who sacrifice, who are willing to die to save a loved one… with me it works every time. I found this theme-there without me there to wait hundreds of metres under water, through the story of the Song of the wolf. Julien Panié Antonin Baudry did you Have a willingness to denounce a certain rigidity, or obsolescence of the rules within the army with this story ? I didn’t want to denounce such a system in particular. I denounce rather “the” systems. I think that in any system, there is a flaw. Every time one sticks too rigidly to a system, it is possible to trigger disaster. What I wanted to show in the film, is that people with a human consciousness, a humanity that is very strong, a sense of sacrifice that goes above and beyond all, are able to fill the flaws of a system and save the world. I believe in human beings more than machines, I think, to the consciousness more than to the systems. This is what I wanted to express. How has your experience as a diplomat, has it been useful in the making of the film ? It is true that I worked for 15 years in diplomacy. The challenge is to maintain the peace in the world. And it may seem surprising that I left the diplomacy to go shoot the warriors. But their mission is just a peace mission. In the Quai d’orsay, or The Song of the wolf, these characters are servants of the State. They operate in the shadows, you don’t know, they are invisible. Quai d'Orsay trailer VF After, when working in diplomacy and international relations, we know that it is the war of all against all, almost all the time. It is known that there was this intense war, sub-marine permanent, intimidation crossed… I was aware of all that. Somehow, it always uses all that it is. I think that having worked in diplomacy for some time to print the film. The latter would be different it was not the case. It is not necessary that one begins to reproduce images, ideas that he has in other films or it will become cliché. You have done a stay in a submarine for the purposes of the film. This is where you have drawn all the jargon specific to submariners ? Absolutely. I took notes on all of these ways of talking. I also triggered myself of the situations in talking to the officers : “what would you do if it was happening or that ?” I wanted to keep this language of submariners as it is, when they are under water and that nobody can see. I did not want to be translated, water down or dress up… by making the bet that the audience would like me the first time I was immersed in it. That is to say, not to understand every word of the language but achieving to decrypt it when all that happens. It seems that you don’t want to see movies of submarines during the production of the movie… I knew the films of submarines, I have seen many of them. Once I had this idea, that I put myself to work on this, as I had the chance to observe the real world, immerse myself in a real submarine, to propose to my players and my team do it too… I said to myself, it should be permeated with the real, that one works. It is not necessary that one begins to reproduce images, ideas that he has in other films or it will become cliché. Top 5 Emissions Bonus When you to imitate a thing, it becomes a cliché. At the moment you have thought to imitate it, it has become a cliché. On the other hand, when you bases on what you’ve seen, heard, felt, you don’t make shots, in principle. There is something authentic that comes out. It is for this reason that I have not reviewed movies of submarines and recommended it to my team not to do so, either during the preparation. All the more that the submarine must we impose constraints… it will be a film of submarine, in fact, no need to try and check boxes I don’t know where. I prefer not to know the boxes and we will see. FRANÇOIS CIVIL WAS HE REALLY The GOLDEN EAR ? The Song of the wolf : François Civil is there really "l'ear'gold" ?
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