谷歌自动翻译版——————————————————————————————————————————————
冲非洲10：爱慕乐Chinois
2条评论
Gertjan Zuilhof星期三二〇一〇年十一月十日
电影制片人爱慕圣索沃尔是从法国前刚果。 较小的刚果。 刚果布拉柴维尔。 因此，爱慕讲法语和他在中国电影生产，我们必须找到他的法国/中国电影制片人作为导师发言。
我没有深思一下。 我认识了一段时间章希黯分钟。 他是在中国独立电影制作人在现场的关键人物之一。 他任教于北京电影学院大，是一个独立电影制片人，甚至有作为一个演员的信贷（Rainclouds在张明巫山）。 献民曾在索邦大学和法国巴黎是无可挑剔的。 这个词去，在中国他的笑话很聪明，有趣，有人说他们是稍微淫秽。
董事爱慕和Mentor献民在中等摄影师
献民是个大忙人，很快就清楚，那是不可能的，他与爱慕所有的时间。 '让我们先谈谈'，他建议说。 因此，我们会见了尼斯和舒适的栗宪庭电影学校的赞助人的客厅。 爱慕不想把他的情况在纸上，因为他是使用一组的即兴演员（称为莱斯Boulistes）使小说的喜剧，但是当他开始说话，立即变得清晰的电影已经在他的头都在那里，到最微小的细节。 献民分析了现场的问题。 如何得到这个详细的电影在中国的故事，一船员，非常重要，对中国演员。 中国演员，这对于大部分是由爱慕中招募人，他在学校，甚至在他在中国的第一天街上遇到的业余爱好者。
爱慕你的博客作家旁边解释他的计划，导师章希胺敏关闭屏幕
献民对我来说只有一个基本问题：什么是预算？ 2000欧元，我说，这是事实。 他没有说：你在这里做什么？ 中方知道多远欧元可以去北京的郊区，特别是当你是一个几乎地下电影学校的客人。
'好'，他说。 '让我们吃晚饭。 我知道一个朋友，一个电影制片人，谁拥有一个不错的餐馆。' 到那时宋庄给我们和他的餐馆，Mina的餐厅，小的惊喜是一个我们最喜欢的流连场所，而不是因为甜聋哑服务员最少。
服务员在Mina的宋庄餐厅
晚饭时献民开始拨打电话，他不断打电话，直到我们完成。 在中国人比在其他地方的字餐桌礼仪其他想法。 当一个人感到他在餐厅可以与所有裸露上身的男子他的T恤衫和一张桌子热过，是不是在夏季罕见的视线（我可以向你保证的时候了这个漂亮的照片我到了发作该电影制片人伊沃葡萄牙费雷拉将作为导师的数字）。 男人可以吸烟，当然，电话（明显），并响亮，在服务员和饮料留言直到他们吐。 不要误解我：我有宾至如归的感觉完全在一个中国餐馆。
当献民放下电话，他告诉他的十几岁的儿子，他们现在给任何一分钟（他降临，要看看我们对他的自由星期六）和我，他说：我会回来的爱慕与船员明天上午。
伊夫（右）和爱慕Sauver晚餐期间，我们许多人欢迎，再见
在此期间爱慕不可能知道发生了什么事情。 一，但也没有献民有一个计划，他就叫人接触后，另一个 - 他必须知道几乎所有的年轻电影制片人，在独立电影世界华人摄影师和线路生产者 - 让船员一起，将愿意工作非洲有一个相当特殊的董事，这将是提供在即将到来的一周。
当献民返回的第二天，他作出了更不是真正的自己的承诺。 他提供了两个摄影师选择和一个非常好的声音的人。 包中的奇迹闵蜡嗯，有经验的制片谁完美的法语和英语发言，她的工资是我们不会破产。
Amour的导师Zhang献民就此与他带来的船员
我所看到的爱慕在布拉柴维尔工作。 我写的是去年在刚果博客的 。 当他的作品与人，他知道，谁知道他，他的作品非常快。 他可以拍一部小说的一个下午短。 在这里，他损失了一些时间，因为他不知道的人，甚至无法理解，但只要生产成立，他们都知道什么是他们（闵兰艰难的工作）预期没有停止爱慕（没有任何人试过）。 在三天之内拍摄完成了。 即使是当一个笑话我建议爱慕他可以拍摄一个又一个或两个（大约两个可能是一个笑话）。 但有中国电影足够了一会儿，他也有他的购物做。 你不能再回到非洲空从访问交给一个国家像中国神话。 爱慕已经到达一个小运动包，情节严重，手提箱离开。
爱慕和闵拉嗯铸造车间附近的女孩从
爱慕已发展了自己的电影制作，电影制作人很少的东西可以说自己的风格。 他提出有关在他的国家的局势是非常短的讽刺喜剧。 对于中国的项目，他想出了一个关于艾滋病毒的故事，并因此而面试问题。 这听起来像是一个很非洲的故事，我很好奇，中国将如何回应。 那么，他们非常清楚和简单：你永远无法显示此片在中国。 但没有人有问题，工作在这样一个爆炸性的项目。 在中国可能受到抑制，但他们并不害怕。 这就是为什么他们赢得诺贝尔和平奖。
设置爱慕在栗宪庭的别墅照片谢尔曼翁
在刚果，Amour的可能性是非常有限的，所以他创造了他独特风格的电影从这些限制应对决策。 当我看见他在布拉柴维尔拍摄他射中一街在离他家步行一分钟，他拍摄外景。 节省了大量运输。 被枪杀的室内场景，在他自己的房子。 节省一切。
在中国做了什么爱慕他不习惯这样做。 我们讨论了在电影学院的办公地点，他看了看四周，说：'我们能做到这里'。 他指着门，弯道，他认为他可以做特定的场景。
本地演员等待轮到自己
在非洲，是没有一个定时拍摄计划这样的事情。 每个人都显示出来，无论是需要与否，和周围挂起直到轮到他们。 如果轮到自己不来这不是一个问题，它会改天再来。 这不是在中国工作，你可以想像的。 但只有少数人得到了不耐烦，或由该激怒，他们大多认识到，他们看到一些特别的东西。 谁知道什么时候他们将在一个非洲电影制片人将再次设置？
一个最好的，谁知道在他的后院项目可能是一个特殊的场合疯狂，但肯定是'组长朱'，后面的栗宪庭电影学校的沉默力量。
诸日捆在栗宪庭电影基金办公室
而在不知不觉间，Amour的电影是在CAN。 大部分时间花在创造一种局面，即爱慕可以工作。 只要在地点的，事情是一样好做。
之后，他的爱慕所要解决的后期制作在刚果的问题。 也许这本来是容易做，以及在中国的编辑，但是我们的资助者更喜欢将用于非洲的钱，他们的权利。
裹。 爱慕宣布为正在拍摄的电影。 谢尔曼翁。
回家的路上，在机场，我劝爱慕给我的礼物，他将收回一些。 这很可能是因为爱慕今后将被称为'乐Chinois在布拉柴维尔。
爱慕圣索沃尔回到刚果北京机场的路上
Filmmaker Amour Sauveur is from former French Congo. The smaller Congo. Congo Brazzaville. So Amour speaks French and for his film production in China we had to find him a French/Chinese speaking filmmaker as mentor.
I did not have to think long about that. I have known Zhang Xian Min for some time. He is one of the key figures in the scene of independent film makers in China. He teaches at the big film academy in Beijing, is a producer of independent movies and even has a credit as an actor (Rainclouds Over Wushan by Zhang Ming《巫山云雨》). Xian Min studied at the Sorbonne in Paris and his French is impeccable. The word goes that his jokes in Chinese are very smart and funny, others say they are slightly risqué.
Director Amour and Mentor Xian Min with cameraman in the middle
Xian Min is a busy man and it quickly became clear that it was impossible for him to be with Amour all the time. ‘Let's first talk’, he suggested. So we met in the nice and comfortable living room of Li Xianting, the patron of the film school. Amour did not want to put his scenario on paper, because he is used to making fiction comedies with a group of improvising actors (called Les Boulistes), but when he started talking it immediately became clear the film was already all there in his head, up to the tiniest detail. Xian Min analyzed the problem on the spot. How to get this detailed film story across to a Chinese crew and, crucially important, to Chinese actors. Chinese actors that would be for the most part amateurs recruited by Amour from among the people he met in the school or even in the street on his first days in China.
Amour next to your blog writer explaining his plan to mentor Zhang Xian Min, off screen
For me Xian Min had only one basic question: what is the budget? 2000 Euros, I said and it was the truth. He did not say: what are you doing here? The Chinese know how far a Euro can go in the outskirts of Beijing, especially when you are the guest of an almost underground film school.
‘Okay’, he said. ‘Let's have dinner. I know a friend, a film maker, who owns a nice restaurant.’ By that time Songzhuang had little surprises for us and his restaurant, Mina's Restaurant, was one of our favourite hangouts, not least because of the sweet deaf-mute waitresses.
Waitress in Mina's Restaurant in Songzhuang
During dinner Xian Min started to make phone calls and he kept on phoning until we were finished. In China people have other ideas about table manners than in other parts of the word. When a man feels hot in a restaurant he can take his T-shirt off and a table with all bare-chested men is not an uncommon sight in summer (I can promise you a nice picture of this by the time I reach the episode in which the Portuguese film maker Ivo Ferreira will figure as mentor). Men can smoke of course, phone (obviously) and be loud, shout at waitresses and drink till they puke. Do not misunderstand me: I feel completely at home in a restaurant in China.
When Xian Min put down his phone he told his teenage son they would now leave any minute (he came down to see us on his free Saturday) and to me he said: I will be back tomorrow morning with a crew for Amour.
Yves (right) and Amour Sauver during one of our many Welcome and Goodbye dinners
Amour in the meantime could not have known what was going on. Neither did I. But Xian Min had a plan and he called one contact after another – he must know virtually all young film makers, cameramen and line-producers in the independent Chinese film world – to get a crew together that would be willing to work with a quite special African director and that would be available in the upcoming week.
When Xian Min returned the next day he had made more than true on his promise. He offered two cameramen to choose from and a very nice sound man. The miracle in the package was Min Lan, an experienced line producer who spoke perfect French and English and her salary was not going to bankrupt us.
Amour's Mentor Zhang Xian Min discussing with the crew he brought in
I have seen Amour working in Brazzaville. I wrote about it last year in a blog from Congo. When he works with people he knows and who know him, he works very fast. He can shoot a fiction short in an afternoon. Here he lost some time, since he did not know the people and could not even understand them, but as soon as the production was set up and everybody knew what was expected of them (tough job for Min lan) there was no stopping Amour (not that anyone tried). Within three days the shooting was done. Not even as a joke I suggested to Amour he could shoot another one or two (that about the two maybe was a joke). But one Chinese film was enough for the moment and he also had his shopping to do. You cannot go back to Africa empty-handed from a visit to a country as mythical as China. Amour had arrived with a small sports bag and left with serious suitcases.
Amour and Min Lan casting the girls from the neighbourhood shop
Amour has developed his own genre of film making, something very few film makers can say. He makes short comedies about the situation in his country that are highly satirical. For the China project he came with a story about HIV and problems with job interviews because of that. It sounded like a very African story and I was curious how the Chinese would respond to that. Well, they were very clear and simple: you can never show this film in China. But nobody had a problem to work on such an explosive project. The Chinese may be repressed but they are not scared. That's why they win Nobel peace prizes.
Amour on Set in Li Xianting's Villa photo Sherman Ong
In Congo, Amour's possibilities are very limited, so he created his particular style of film making from coping with those limitations. When I saw him filming in Brazzaville he shot his exterior scenes in a street at a one minute walk from his home. Saves a lot on transport. The interior scenes were shot in his own house. Saves on everything.
In China Amour did what he was used to doing. We discussed locations in the film school office and he looked around and said ‘we can do it here’. And he pointed at doors and corners where he thought he could do specific scenes.
Local actresses awaiting their turn
In Africa there is no such thing as a timed shooting schedule. Everybody shows up, whether they are needed or not, and hangs around until it is their turn. And if their turn does not come it is not a problem; it will come another day. This is not how the Chinese work, as you can imagine. But only a few got impatient or were irritated by that; they mostly realized they were witnessing something special. Who knew when they would be on the set of an African film maker again?
The one who realized best that the project in his backyard was maybe a crazy but certainly special occasion was 'Leader Zhu', the quiet force behind the Li Xianting film school.
Zhu Rikun at Li Xianting's Film Fund Office
And before we knew it, Amour's film was in the can. Most of the time was spent creating a situation in which Amour could work. As soon as that was in place, the thing was as good as done.
After that Amour had to solve his post-production problems in Congo. Maybe it would have been easier to do the editing in China as well, but our funders prefer the money to be spent in Africa, and right they are.
The Wrap. Amour declares the movie as being shot. Sherman Ong.
On his way home, in the airport, I persuaded Amour to show me some of the presents he would take back. It could very well be that Amour will henceforth be nicknamed ‘Le Chinois’ in Brazzaville.
Amour Sauveur in Beijing Airport on his way back to Congo