At first, the film begun after the suicide of Martine. But he is not interested in the “why”; he had the intuition that it was the right thing to do (laughs). Then, I understood that if we wanted the viewers to be emotionally involved in the journey of the kids, we needed to experience this moment with them. So, he was totally right, but like I said, for him, it was totally intuitive, while I had to rationalize that choice. You learn to count, read and write, but at the same time, you learn how to make friends, experience feelings like hate, jealousy, competition, etc. Some people say “enough with the writing, you have to shoot,” but at the same time I think that screenwriting is an important tool and step in the filmmaking process.Philippe Falardeau: Yes, a lot. Monsieur Lazhar is a 2011 Canadian French-language drama film directed by Philippe Falardeau and starring Mohamed Saïd Fellag, Sophie Nélisse and Danielle Proulx. It’s also the clash of two worlds: Bachir comes from a society where people are victims of atrocious acts on a daily basis and now he is faced with children that are victims of emotional violence inflicted indirectly by their teacher. However, we had been walking on eggs all day. When both men learn that Eliezer will be lauded for his work, their complicated relationship reaches a new peak.You must be a registered user to use the IMDb rating plugin.Ajami is the religiously mixed community of Muslims and Christians in Tel Aviv.
The principal was mentioned, but was presented in a different manner, more as an antagonist. Then, when you think you are done and the script is good, you have people read it and they tell you, “It’s really good, but it still needs work” (laughs). Le cinéaste québécois Philippe Falardeau se réjouit de la nomination de son film, Monsieur Lazharpour l’Oscar du meilleur film en langue étrangère. However, we shot the scene and all the people in the crew looked at each other like “Wow!” I was surprised at how far he went with his own emotions. Adapted from Evelyne de la Cheneliere's play, Bachir Lazhar depicts the encounter between two distant worlds and the power of self-expression. I also decided while doing the blocking that I wanted to do it in one take and that it would be more effective that way.
I think it’s because education is such a universal theme, wherever you are from. I don’t work in TV or shoot commercials, so I don’t have a choice, I always need to keep on working on new film projects. I think it helped setting the right tone and gave them something on which they can base the rest of their performance on emotionally.Philippe Falardeau: It was great. I wanted the whole thing to be almost banal and quiet. Use the HTML below.Teacher and novelist François Bégaudeau plays a version of himself as he negotiates a year with his racially mixed students from a tough Parisian neighborhood. Gérer vos témoins de navigation En savoir plus. Furthermore, being a filmmaker himself he understood that in the end, the person making the final choice is the director.Philippe Falardeau: I would say yes. There is no way around it.
I also wanted to break this barrier in the Quebec film industry nowadays where filmmakers are working on their stuff, alone, separate from each other. Other characters, such as the gym teacher and the janitor were not in the play at all.
The problem is when you try to put words into the mouth of characters as if they were spoken for a specific issue.
Stéphane knew that, for a lack of a better term, it wasn’t “his” film. Monsieur Lazhar: An Interview with Philippe Falardeau by Francois Nadeau Volume 15, Issue 7 / July 2011 12 minutes (2895 words) Since his first feature film, La Moitié gauche du frigo (2000), Philippe Falardeau has proven that he is among Quebec directors and screenwriters to keep an eye on.
Even in the scene where Simon has a breakdown in front of all his classmates was scripted, every word of it.Philippe Falardeau: Due to the nature of the industry here, you always have to start working on a future project as you are finishing or promoting your last one.
I was surprised though; it is a small and modest film. He is also really intuitive instead of cerebral. So, then, I asked myself, “how should I write this?” I knew I needed to show the event from the point of a view of a kid who didn’t expect to find his teacher hanging dead in the classroom. For his work on his second film, Congorama (2006), Falardeau won a Genie Award in 2007 for Best Original Screenplay.