SPIRIT & TIME: Making The Fall of Men [OFFICIAL]

SPIRIT & TIME: Making The Fall of Men [OFFICIAL]

November 21, 2019 100 By William Hollis


That would have no point
to do it differently. They’re making an actual movie. They’re really making a piece of cinema,
they’re really making a movie! It turns out that it is DBZ
so there is everything and the mythology and the fantasy
surround it, and the fans ! But above all,
it feels movie material. Thanks to the independent movies,
thanks to fan-movies like this. We know that we are not going to make money. But we are going to indulge ourselves above all. We are going to do some justice to a real project. We are going to make a quality project. And it shows that
we don’t need a shitload of money to have some quality,
just be passionated. When I talk about the movie. About the filmmaking and
the artistic direction of the movie. I say that it’s between
« Man of Steel ». And « The Tree of Life ». And I find this amazing! This place right there:
between Terrence Malick and a big blockbuster,
I have never seen that before. I’ve never seen a thing which
has the depth of a Malick movie. And images like that
and which also has, the precision of a well made action movie! It seems to me that what
prevails for Yohan it’s more his love for the cinema than for DBZ. Well, it turns out that they
both mix and that’s brilliant! Since I was a kid I wanted to make movies. When I saw Jurassic Park. Forrest Gump’s making-of. And basically we could see
how a movie was made. From this moment I wanted
to make movies, like : “Woaw, we can make whatever
we want to recreate a world ! ». I studied cinema at the IMC-Normandie.
It was sponsored by Jean-Pierre Jeunet. I made two movies there,
“Surrounded” and “Uchronia”. And later I began working as a grip,
because I wanted to be on set and see how the technique
and the artistic work together. Then I was a grip
for Jean-Pierre Mocky. I basically learnt how to
make something with little money. And basically that was the
idea on how to make this particular movie. OK we don’t have the means at all
to make what we want to make. Making a big epic blockbuster. How can we manage to do it anyway? I originally come from industrial design. Two years ago with Yohan we wanted to start a film project. Both of us were
passionate by movies and I wanted to work in
design but in the movie industry. Well the genesis of this project
goes back to almost 6 years ago. When we were roommates with Vianney. I crashed at his place
after I graduated. Thus I came to Paris. We began re-watch
all the episodes of DBZ. Then we arrive at this scene,
we do not know it’s Cell yet. We see an abandoned city
with clothes everywhere. And there was something
very dramatic and very mysterious. And we basicaly said:
“That would be so cool in a movie “. You begin a movie with that scene and at the end you say:
« Hey, by the way! It was Dragon Ball! ». The very first idea was we just show some pieces
and at the end it was DBZ. We made a 35 pages project file with
artworks, story-boards, a script an artistic description and so on. We basically followed Trunks. Inter cut with fast scenes
of Ten Shin Han and Krilin. -And Cell’s presence was…
-Very trivial. We would barely see him.
Just a shadow passing by. -It should have been something very fast.
-Yeah very cut and so on. And with this file we looked
for a production company to help us. We met some and none of them
could help us at that time. And that’s understandable. The world of Fan-Movies
is a world of its own. Nobody make money out of it. It is very complicated to make
a movie where you don’t have the rights. So we put it aside for awhile. It stayed on a desk for almost 3 years. It was just a project
we would dream to do. But that we couldn’t actually do. And then arrived the Caen’s Kino. I hold a movie festival
named Kino Caen. The Kino’s goal
is to make a movie in 3 days. Two years ago it was
the 2nd edition. And Yohan came from Paris
to shoot a movie in which I was playing. Basically I come to that festival. Where I was a Director of Photography
for a short movie. And everyone said to me :
« Hey, don’t you have a Kino to do? » And I watch in my iPhone and I had emails of the TFOM file. And there was all the story-boards. And I say to myself :
« Oh shit, I can do those shots actually! ». So I say :
« I need to find a Trunks ». And I met Benjamin Hubert. Between two beers he shows me
a story-board for a DBZ thing. And I say to him :
« Wow, awesome! DBZ! I love it, I’m a huge fan! » He says :
« I am looking for someone to play Trunks… » I say : « Well I don’t know…
Maybe some actors I know… » And he says to me:
« No no, but I want you to do it! » I say : « OK » and we make that shit! But like… Crazy conditions! We shot in the janitor’s closet
of the place we all were. « What are you wearing? » Well Trunks it’s simple. A black tank top.
A black pants, big shoes… And the sword… As a matter of fact there swords
at the festival… But the big Trunks thing,
what gives him his class Obviously it’s is his jacket! And just before I leave I figure: « Caen is very cold,
I should take my jacket! » And with Yo we say : « Oh shit, how could we
do to find a jacket? » And Yo had this jacket
with a hoody and fur… I say to him :
« Wait let me see, …take it off… I try… First it fits me, cool » And then we said: « Holly shit dude,
it’s the Trunks jacket! » We added the Capsule Corp badge. And it works so well that
it’s the same jacket we used for the actual shootings after. We roughly shot this little thing. And I asked to Erwan Ripoll
to do the voice over. And originally the voice
was based upon « Settle for Nothing » by
Rage Against The Machine. And basically the text roughly matched with
what we wanted to tell in the movie. If I don’t make a difference… We will fall into darkness… Forever. » Meanwhile, I was in Paris,
depressed! Because… -No job…
-No job, life, stuff… He came back from Caen, and he said:
« I made this little thing… » And he showed me the images. And I said : « Yeah, I could try to put
a little Karin Tower here… It could be really cool to see Cell. » It was done in 2D, it was a drawing
that I have made and animated, just animated the pixels. It was really cheesy, but mostly
it was my very first visual effets. It was the first time you opened
After Effect… If only you knew… -And what was the budget?
-120 Euros… -120 Euros… Basically it was some sandwiches…
-One shirt and a bottle of coke… We putted it on YouTube. And then in the month to come
we started to have a lot of views. We arrived at the end with
the count of many videos at 4 million views. And then we say to each other why -dont we start to do…
-To make a bigger thing… -A real thing…
-More thoughtful… This would be our base to try to get people to work with us. It was at the Kino Caen in 2013
that I met Yohan. For the first time he did
a test footage that he made in 3 days. So I met him,
we talked a lot. He explained me his project. And I start asking what
did he needed to make his project. And I met Vianney shortly after when the test footage was released. So with this test footage
and the little success it had on YouTube we said: « Wow, we should
do something really bigger! ». -Start a real project!
-Yeah with a better preparation! So we start an Indiegogo
crowdfunding campaign We asked for 12 000 $. Well honestly we didn’t
made this goal We didn’t have the 12 000 $. We only had 1 900 $.
That’s 1 200 Euros after taxes. With Tennessee et Vianney we decided
to make the movie anyway. And with this to take care
of the craft service. Which means:
transportation and catering for the crew during
the shooting… And then after with Vianney
all along the way we add some of our
personnal money. And the final budget
for the movie is around 8 000 Euros. Basically we start with
Trunks in a parallel universe, different
from the anime. So we could have
some freedom to adapt it.
Like changing the hair color, change some bits
in the story. The artistic choices were stronger because we were in a complete
different timeline too. During the preparation I was working on Cell. And the face he will have. Because originally… -We were supposed to do it live!
-Yeah we were supposed to do it on set! Which means build a realistic costume very realistic
and it was a huge part of the Indiegogo Campaign budget that we originally did. So we abandoned that idea. And we will do it with CGI. Now I think it’s
a blessing in disguise. From the complexity
of this character. I think it would
have been very complex to do it with a costume anyway. By reading the Yohan’s script when he send it to me I immediately imagine
the locations. He told me what he needed and I said to him that
he could basically find everything in Normandy! As soon as we started,
I left for Caen. And basically with Tennessee. We drove all across Normandy to seek for the locations. We needed a set for the Karin’s Tower. We needed a small clearing. We struggled to find this one. Then finally we ended doing
this sequence in my backyard. And the funny thing is my mum’s name is Karin! So it’s the real Karin’s Tower! After we find the locations. We had to have permits to shoot even if it’s a small budget movie we’re not rogues we tried to this by the book. At one point, a lot of our closest friends advise us to put on hold the rush of the shooting
because – and it was true… We weren’t ready! So at one point we put the shooting prep
on hold. -Just to say…
-And on the Indiegogo campaign! Asking: « How can we
payback all those people who already contribute? ». And because our
friends arguments, who wanted to help us,
were rock solid! I remember Yo was at
my place in Caen. Down, bummed
really down. Telling me:
« Well, we have to cancel, basically it’s not possible,
we don’t have the rights… It’s gonna be too hard… And he came back, we had a meeting -To talk about the situation
-To talk about the thing And it didn’t last
for 5 minutes… We said:
« Okay let’s think about something else, what other project
could we do? And then, it ended quickly! We were so close
to make our vision of DBZ The one we discussed for about 6 years! And basically if we didn’t went 100% into it, in the shooting… Do it blindly… We would never actually did it… And Yo called me and said: « It’s okay, we do it! ». So… We started the project again
in a rush like this! And we we went
through so much steps of « Yes / No » « We do it / I don’t know » « It’s gonna be complicated » « We give up… » That, at this point,
the decision was really taken to shoot the movie… Then, nothing
could stop them. There is a lot of references… You have to know Yohan is a guy who eat… movies… everyday… at breakfast,
lunch, diner! So does Vianney! And they really built their own universes with movies
they love. We had « Sunshine ». « Matrix ». Huge Sci-Fi movies that are touchstones. Then my job was mostly explain that we could be close to these ideas that they had. But as we work on a small budget. We would have to do it in an unconventional way sometimes. And they were okay with that. They knew I was pretty good too. Vianney was really there during prep. Because it was his first time too. So he really needed to have a maximum of certainties before arriving on set. So basically, we worked together but unfortunately I had to leave the shooting project two days before
principal photography because I had a job
at that time… We didn’t had the time to do a long prep with drawings, artworks… Try different universes… Test a maximum of different things… We had to have a complete vision of what we wanted! We jumped between all
departments at the same time! And for me try to figure out
how Visual Effects works! So, knowing what we’ll need… Because we knew when making a DBZ movie… -The VFX…
-There will be some! The thing is Vianney here never did Visual Effects before! And never used computer
to do vfx prior of this! We plan things with Yo before.. And basically the shooting went really easy! Yo and I didn’t talk that much during the shooting. Because we already said
everything ! We rehearsed a lot. It was really cool! We agreed on what
should happen… How it should be act! And then when the shooting arrived
we knew all of this! Mostly losing weight! Getting fit and then taking some muscles obviously! And the physical condition
because I knew that it would be
a complicated shoot! There is some fight scenes. A guy named Alex who lives at Caen, he teached me some sword beats. The relationship with Yohan was excellent. A real trust in his directing. We first met in 2008 when he was still a student at the IMC of Cherbourg. I already felt that for a student his project was
very well made. When Yohan contacted me to talked about this project Truth to be told I immediately said yes! Because I really wanted to work with him again! Even if, I have to admit,
I didn’t knew anything about DBZ! After I filled that gap and read all
the little sum-up really quickly! So he talked to me about my character,
a strong female character. He gave me references. Sigourney Weaver in Aliens. And also a part
that I love: Sarah Connor in Terminator. I admit I already
liked those kind of roles. So when he told me about it I was very excited! Yohan contacted me for a meeting. And when he saw me he said:
« You are THE Dr. Briefs ». To be honest,
I didn’t knew who the Dr. Briefs was. Of course I’ve already heard
about Dragon Ball Z. There was a lot of
DBZ manga at home because my son read it, see! When I saw that I could look like the character of Krilin.
Because I knew the phenomena! Physically, I could see
a match. As Yohan said to me after… « When we saw you, we knew it will be you ». Basically because I have this face, there weren’t anything to do! He told me that
I will need to be in shape. Being capable of running all day. Mostly because there’s not a lot of sequences, but they are quite physical. -« Huge! »
-« Awesome! » -« Are you okay? »
-« No, not at all, not at all! » When I was a kid I tried to do Kamehamehas in the backyard! I’ve always been a Dragon Ball fan. I get a phone call
from a guy… Yohan. And basically he told me
that he has a problem… In 2 or 3 days his shooting starts. And he has no one to play the part of Luna,
the Native. He finds me on Facebook via a mutual friend. Marine Broussaud, the
costume designer of the movie. And he asks… He asks this as a favor. I heard of it.
Barely… I knew there was… No actually I knew nothing. And when Yohan
send me a message to ask me if I wanted to
play the face of Cell. I said:
« Yes, of course, it’s a pleasure! ». And then I immediately
went on Wikipedia. To see what’s all about! And who was Cell! The first time we were seeking actors
for the part of Goku we first tried
with weightlifters. And we quickly saw
it will be too much… They were all pumped and didn’t fit the esthetic of the movie. And mostly they weren’t actors and just the gesture was too exaggerated, not controlled and it just didn’t worked. Unlike what
Frederick Malahieude could bring! Actually I think that this character
and the film also, is the result of what we want to see.
And everything we think as a kid of Dragon Ball Z. And cinema also! And mostly american cinema. Yohan took a lot of time to cast
the characters in the movie And I found they’re well chosen. I’m pretty glad of the ensemble. I asked myself as
a on set beginner: « Does every shooting is like this? » Because this one…
It was impossible. We only had problems. The 7 days of shooting were basically
the 7 plagues of Egypt. Every day we had something. Like the first day
in the Bayeux’s sandpit. It was the only day of the shoot were the temperature broke records. So we didn’t had any shadow. No water, in the middle of nowhere.
Lost in the sand. Hot wind. And that poor little Ten Shin Han was burning in the sun. With that kind of sun there is
one thing to know… Ten Shin Han, Samuel… get a tan during the shots. Lucky for us he was
used to get the sun. -Yeah he’s from the south!
-Yeah fortunately he is from the south! So it was very hard for him. I had scenes were
I lie on the ground, dying… And sometimes I had
to open the eyes and with the wind
I had sand in my mouth. And you have to act with sand in the eyes. It was tough for the crew. Mostly for the technical aspect of the camera,
there was sand everywhere! It went everywhere. We had the wind,
a small sand storm The crew was really tired,
and it only was the first day! It went bad. But we arrived at
the end of the day. We have what we need. And I am the last one
to leave with the cook. He had his own truck. And basically we find ourselves
trapped in the sand. Everyone has left, we were alone, in some kind of desert. Waiting for someone
to come looking for us. Because we were stucked in the sand. I get a phone call from Tennessee. « Hello, what’s up? « We are trapped in the sand. » « We need rescue… » And it was pitch black! So I came back… It was a one hour trip. Approximately one hour from Caen. So I came back… We attach the truck
to my car with a rope. The rope breaks. So we find another one. And there you go: « Okay, awesome we get the truck out ». You go: « This, was the 1st day.
Well the 2nd one… » « It’s gonna be okay. Right? » Then 2nd, 3rd, 4th, 5th day… The whole first week of shooting was hard on every departments. Nothing went well… But I think it comes from
the fact that we didn’t have any money. We had to figure it out as we could
with a box of scraps to make things work like we could
with our budget. The second day of shooting
was all the interiors for Capsule Corp. All the basement
stuff with Dr. Briefs and Bulma trying to make the Time Machine
works on the computer. The shooting was at Caen. We were in the swimming
pool’s basement of Caen. Yohan told me that what he liked was all tubes system and so on. The set with tubes, the cables, all of this it worked very well. So basically we shoot in
a full operational swimming pool. Which means, the engine at full capacity. -The heat… Super High!
-Also full capacity! And a constant chlorine smell! -It wasn’t really…
-Really not convenient… Basically every ten minutes
everyone had to get out and get fresh air, because it was impossible. -It gives you headache really fast.
-Yeah… So we shoot in
this continual hubbub hot as hell and
that chlorine smell. We shoot all the scenes. It take some time,
like a normal shooting. We work, blabla,
it takes some time. And at one point. Around 3 or 4pm. A lens get stucked in the camera. And it was a long lens. As we hadn’t any
space in the basement the long lens was useless. So we have this lens
stucked into the camera. Basically we couldn’t remove it. At one point I heard:
« We gonna have to open the camera… » That moment where I heard that… I went outside. I really thought that Yohan was about to transform
into a Super Saiyan. I was really scared… Lucky for us we had an amazing team! Regarding the challenge
of that shooting it was crucial
to have a team who help each other and work together
to find solutions. When we don’t have this item or this expensive
piece of equipment, well we figure it out and made it with nothing. For this they were awesome. It was the most important thing on this shooting. Everyone who worked on this, everyone, the craft department, everyone with passion and the desire
to go all the way in for something
we believe in! It feels really good! We shot at a very beautiful location. In Normandie, in the country. And there was this geek of Native American culture who bring his
own teepee with him. This day was very interesting because… I’m speaking for myself…
I’ve never been on a set with an Native teepee before. Basically, Clémence Hamel found the teepee
the day we hire her. Really quickly
she founded the teepee. It was a nightmare, I had struggle really hard
to find a Native teepee. And when that guy arrived
with his teepee, the pelts… Honestly it was very cool. It was like being
in Toy Story, you know when Andy plays with
his toys and so on. It’s really like playing with Indians and stuff. It was really cool to shoot this. And after when we saw
Romain and Carole in costume. It was funny too, like: « Okay we’re making a DBZ
movie with Natives too ». And Marine Broussaud,
the costume designer, she did an amazing job! Considering the time we gave her
and the money we gave her! Which is basically nothing and nothing! She really did
an outstanding job! At the same time I met Romain Lapierre at Caen
to ask him to make the arm… Cell’s arm for the fight. We wanted that the arm of Cell
grabs the face of Ben. I knew he made prosthetics. And I asked him if
he would be interested. And he is this huge DBZ fan! He said:
« Dudes, I am such a fan of DBZ! I’ll do the arm! I could…
It’s better if I made it for me. So I’ll make it on my hand. So I’ll be the
hand double for Cell. No worries. »
So we were very happy! And when I saw him I ask: « Hey, do you have any
Native in your family ? » He says: « No, not really ». And I say: « Because you match
what we are looking for… Do you want to be in the movie? ». So he said: « I am not an actor!
I’m not good with a camera ». And I said: « Don’t worry, you’ll play
a wounded guy, no worries! ». So he agreed. At the same time
I ask him if he had a trailer for motorbike. And he came and he has it! Basically Tennessee named him
The Swiss Army Man In one day Romain help us with: -The Cell’s arm. -The Double for the fight -The Native American. -The trailer for the motorbike. So that was cool! And this was just for the shooting! After, Romain was also the lead animator
on the movie and the fight. Then the 4th day arrives, maybe the hardest one? -We could really felt the lack…
-The lack of money… The green screens day
and it was… We didn’t had any gear so… So we had a green screen
borrowed at Les Films du Cartel with all the gear, basically Les Films du Cartel
lend us all their equipments, dolly tracks, light and everything. Here we used everything. Yeah we used everything but
basically the exterior green screen where Ben flies.
It was such a… It was dumb, Everyone from the crew helped. It was an outside door green screen that we tried to stretch
the best we could. Ben was standing up
on a stool and, first he was supposed
to not fall flat because it was hard for him
to have the hero posture when every 2 secondes he has
to be in balance and he had to focus
to be upright and I was on the lying on the ground,
beneath him, I had to move the thing but not too much,
the stool on which he was to make him turn… Anyway, it was out of control but it was fun to do. I really think that people who pass by
and saw that just said: « What are we doing right now?
It is gonna be so cheesy! » Yeah it will be weird. Although since the
beginning we wanted to shoot, it was a decision
that Emmanuel had, a long time before he couldn’t
do the first shooting as D.P. It was at least to do all
the green screens where the final result will be outside, well simply,
just to do it outside. This is essential.
For the natural light and all… And basically with the means we had, an outdoor green screen, there is wind with it.
So it moves all the time and so on. And it was fun,
what Vianney said, everyone join in. It’s fun when you
saw the dailies, there is Loup, the focus puller who grabs the leaf blower and he’s the one on the stepladder to make believe that the wind we used a leaf blower the wind comes horizontally as he rises we had to make the wind comes from the top… It was difficult. We also had Florent the
chef who grab the thing, -everyone was holding the sheet.
-Yes, Florent and Martin! So yeah that was quite fun. My favorite moment from the shoot was when I
transform into Super Saiyan. We were shooting in… with all the stones and shit. And it absolutely was my favorite moment because at that point
in the shooting I really felt this is why
I make movies. It really was that moment,
namely there’s: the tracking shot, so Yohan watches, Bertrand operate the camera, the focus puller do his job, Franz pushes the dolly, you have Bulma on my knees, she’s not moving, Aurélie was great and there’s me, I have to act the drama stuff knowing
that the camera moves forward, there’s the boom operator, Clémence with
the wind blower, hide somewhere, ready to turn it on. The first assistant director
had a piece of polyester to cut the wind flow another guy behind me to hold the sword and all of this
in a two square meters area. And basically on
the screen you just see the guy and you think
he is really alone, lost, tears in his eyes.
It is really cinema. It is awesome. The guy with his digger made for us the set, he moved rocks that weight tons.
It was cool. He made us a really nice set. And the moment we
start shooting we find that this set is, and it’s basically the only scene where there’s a need
to record the voice when Ben cries. There is a train who pass by,
every 10 minutes, we didn’t saw this
during the location scout, because we were such in a hurry
that we saw the set matched, the guy said yes
and basically he was the only guy who
said yes for having us. So the train passes by and we were behind Festiland,
it’s an amusement park in Caen. So basically you heard people
on the roller coasters saying « Yeah what a blast! » and so on. And the train keeps passing by. For the Super Saiyan transformation
he had to charge his energy and cut to insert to the
tiny rocks vibrating and floating. And for me it was out of the question to do it with CG so we tried, I don’t know how many time we spent
trying to do it live. So it was the insert of the rock and we put some invisible threads that I will erased after in post and we tried, so we had 6 people, around that tiny piece of rock like this and we tried to control the threads to make them lift. Everyone was there trying
to make those tiny rocks flies and actually the rock start moving and then flies suddenly. Especially when it vibrates,
on the ground it works, but as soon it’s off, it comes and does… and swings like this
it was super dumb, it didn’t work at all. The 7th day, we knew that we’ll have some very difficult
technical things to do, there were the famous cable cam shot who was supposed to follow…
It was a shot we had since the beginning, we said, if we gonna have a
really nice shot, it will be this one. We was supposed to follow Krilin disappeared and
going far in the forest, this shot should
have been beautiful. Everything was set up,
everything was ready and we lost two hours because of the rain, waiting under the tent,
drinking coffee and making jokes, it was cool but those two hours we didn’t had the
time to get them back. And we miss that
really technical shot that should have been really visual. This day we had to shoot a lot of things, try to do as much as possible and because I didn’t know how to make the disappearances, where he is gonna be and how to do it. So basically we did a lot of clean plates, plates where he ran, where he doesn’t ran,
where he was steady. I think we mixed all
the techniques together. At one point we gave
the camera to Christophe who ran with
the camera pointing to his face. Then we used a long lens and a shaking camera while he was
running in place. Yeah that does the job! There was a nice shot to do, I was with Franz, we were about to plan the shot where he’s getting shot
in the shoulder and he falls down and we saw together a nice spot where the impact
will take place, where he needs to stand up. – Yeah, with little trees
– That’s it, with trees And we had the idea to had trees, so with Franz, meanwhile you
were shooting other stuffs, I was with Franz and we were planting trees. -sorry what ?
-I didn’t knew they were fake… Yeah precisely, Yohan turns up after and said:
« There wasn’t any trees here? What the heck? » We said : «  yeah look! » Yeah I leaned against a tree and you shouted:
« Wooow don’t touch! » Yeah you were on the tree, the tree falls so… Because it was really interesting to have this lateral tracking shot with the trees out of focus… All the crew was really nice, I didn’t felt the effort of running. and God knows
I imagined running even more The thing that’s awesome with Christophe is a guy full of life,
always motivated. He’s… We were at the the 7th day of shooting, we were completely worn out… So tired! And when he arrives, he was always smiling and fun and it didn’t matter if he fell and a leaf wasn’t moving the right way « No biggie, I’ll do it again! » -He was really in it and…
-It was cool. Then the horses scene, in my head I wanted something very like
a Terrence Malick movie. I really wanted something aerial, it was the magical moment
the movie where we just introduced the world with the destroy city and so on. Now with that scene we settled the emotional core of the story. And really, I wanted something where the audience feels: « Okey, it’s not just a random DBZ
that I’m watching, it’s a DBZ focus on the characters emotions that I’m watching ». When we drove through the set
to go to another one, there was this wheat fields,
high like this, taller than me actually, We had gorgeous wheat fields, a golden color, really beautiful. It was cool. And there was a little hill where Trunks should have been on top, like very heroic,
watches the horizon and a crane shot pull up
between the wheats, open the wheats, we arrived on Trunks and
we discover him undamaged. Basically the idea was to make the audience understand that the first shot of the movie was either a flash-back
or a flash-forward, in any case it wasn’t
the same timeline that this moment when
he was very heroic. So I really wanted that low angle
shot with the crane to enhance him and so on.
And then Bulma arrived… And then the farewell… And then we arrived and
all the wheats were harvest like this. Mowing, everywhere, there were nothing. We could now see to the horizon,
there were windmill. Well I love windmills,
it was cool to see them but I wanted them to operate
but they didn’t. So the windmills didn’t worked and there were no wheat. And we saw that the crane shot was useless because honestly in a mowing field
it’s not the same thing. The sound on the ground, instead of having « ffffff » of the wind we had
« cranks, cranks » like gravel. Okey then. I was so exhausted that everything went
wrong on the shooting that I said, well, as usual we’ll
improvised with what we have. We will do handheld camera
and we gonna find some cool location. And right here there was that field with
with horses, that we never saw before due to the high wheats.
And I said : « Oh shit, it’s really nice! » And you know Dragon Ball, was originally a story of a monkey kid
who lived in the forest and he arrived in the city.
Basically that link between Nature and Civilization, you could
feel it in Dragon Ball. And with Vianney we had that idea from the get go that it
will be really interesting to have that aerial thing animals have they right in this thing
and Nature has its right too in the story. We can’t forget Nature in Dragon Ball. So we start filming
the horses moving and so on. They moved so it was cool! Ben leans naturally on the fence or I asked him, I don’t remember… And basically we said: « Okay
we gonna start like this, which means that the first shot of
Ben will be that close up on him. We start like this and he’s undamaged,
he’s not hurt. And then to the audience to figure
where it fits in the story. And I’m really happy of that scene,
it is one of my favorites. Because for me it depicts the entire movie in a sense where you plan stuffs, technical,
with a huge camera movement, with a crane and so on. You show up, your moving shot is useless
because the set changed, so you improvise.
At the end of the day you have something better, because I think what we have here
is really nicer than what we originally planned. We didn’t had any dialogues
to built our characters, so it had to go with
our bodies and our eyes. I sometimes feel that
words are very unnecessary, here that’s not the case,
we exchange ideas, comments, but I think you express so much, you see,
without saying anything. And I really like the cinema for this,
where there’s, just a work with the images, I found it fantastic. It’s another awesome thing with the adaptation
that the guys did with the movie, despite that, there’s references
to the source material that we never saw before. Like Dr. Briefs. Some try to do exactly
the armor of Vegeta or whatever but you don’t believe for
a second to the character and here for example this guy, Dr Briefs, at one point you really
feel he is the guy from the manga. And that’s amazing. Okay Trunks hasn’t the purple hair, Bulma doesn’t quite look like Bulma It’s shot in Normandy… There is things like this,
where they took some liberties and that’s cool, but at the same time they show
that they’re no dummies and if they wanted it, they cool really stick with the manga. At one point we wanted to
make a nod to the cartoon, it was Trunks in front of a mirror,
he has a broken face after the fight, he put some water on his face and
he turns on the light, the light glitches and the light is purple and give him purple hair. And it was a way to say to the people who said « you guys have forget the purple hair ». No, no we didn’t forget it,
we made an artistic choice, we change the thing, but
we are aware that usually his hair are purple.
So we had this little nod and Trunks hits the wall
and the light goes back to white and to his normal hair.
Well it was absolutely lame, that scene sucks.
So we cut it from the final cut. We shot this really fast.
And we cut it. And we arrive at the last scene.
Basically, the last scene we shot of the first shooting
was the last scene of the movie, quick trivia for the fish.
The fish was the most expensive actor on set, obviously every actors
worked for free but the fish costed a fortune for
just what it is! Because keep a fresh fish
for a week, because we couldn’t buy it
during the shoot and so on. It was hard. It was Clémence Hamel who took care of it, she did an awesome job.
For everything, the table, he ate everything. At the end, the budget for that scene was the most expensive I think. Because the food was so costly. It’s funny. On the first shooting, we had a lot of
problems with the green screen. Basically none of it worked.
Maybe we used one or two green screen of the 1st shooting in the final cut.
So we decided to re-shoot everything. On the 2nd shooting we had
to be much more imaginative. To redo all those scenes. And finally, for the White Room,
we decided to completely forget the green screen and do it on a white screen. Yohan told me :
« it needs to be a white room » so we made a white room. Like we always do, we get by as best one can and quietly,
we achieve what we like in the least time possible. In the south of Paris, we
locked up in I Prod Studio with Manu, the D.P., Franz with the camera,
Steadycam and grip, Vianney, Anthony Pho for the stunts and to train Ben, And Benjamin. And me. We hit upon a lot of white sheets, that we put around the room
and we point the lights in the white sheets to have
this very soft light that we needed in
the White Room so we could made this really beautiful
soft light as much as we can. If you just light what you need
and not being over expose and loose some definition
things like this. So I gave my old buddies a call, Pascal Rosé and Eric Lesage
They are a gaffer and a grip with whom I worked a lot. We searched in their gear
and he says: « Go on kids, help yourself! » And as usual,
we struggled like hell, we had both cameras that
jammed at the same time. We couldn’t shoot for 12 hours,
the time to find another solution and after we shot
16 hours straight I think. Basically Benjamin has to do
all the White Room. There was a huge script breakdown
in the White Room, it was really a long scene.
There were shots everywhere, it was over cut
because we had to show the time going by There is a lot of stuff
that were left on the cutting room floor. And then we did the final fight. Where basically the fight
was designed by Anthony, He showed it to Ben you can see
dailies where Ben is completely exhausted, He’s not there, at the same time
it makes sense, the poor guy He was so tired and we asked him
« Fight to the right, kick to the left, Kick forward, Cell is here » and so on. It was absolutely backbreaking,
because I had to fight with nothing.
As if fighting while training isn’t weird already,
we had the idea of me fighting myself.
Which means that Trunks fought himself so if you
gave a kick, in the other choreography you should blocked it.
See? By that time it was nuts. We planned a lot of choreographies
where he trains, and he fights against himself where he tries to find
his energy all around With the notion of
the hyperbolic time chamber, with no gravity basically it’s like every hits,
every punches, are like strongly retained
and that’s how he becomes super strong. Actually Yohan wanted to have some
expressions to be used as references for the animation of Cell’s face. So I made faces for the
ugly face of Cell That’s it.
But working with Yohan is always, even for this one where it’s just the face.
He always manages to make this exhausting for a day, even
a single day for the Cell’s expressions it was…
He likes to push the emotions really far. Just to have the choice after I think with the dailies.
Usually it’s always very exhausting. Tennessee managed to unearth
a nuclear submarine to make the Capsule Corp, basically
we missed shots like: the time machine,
Bulma’s ship, Bulma in the halls,
Bulma working, outside where Bulma stare at the sky… all those things…
We manage to have this amazing set with a no longer operational submarine. The owners had many doubts about what we gonna shoot inside.
I had to send them the script, the story board, they ask a lot
of questions about the movie and mostly about the violence,
they didn’t want us to shoot violent stuff in it. Which is understandable. During the post prod
we figure that we missed Something crucial in the movie:
the aerial shots I have a friend,
Gaetan Francq, who’s a designer and meanwhile he made the Bulma’s ship design and he told me a bunch of times
that his father is an helicopter pilot licence and with Yohan we said:
« What if we ask him, by any chance, the next time he went on a ride
we could put a little GoPro or something like this
on his chopper? ». And he graciously
invited us and said: « Well, listen guys,
next time you come with all your gear and I’ll help you make your shots,
with the helicopter ». So we basically said:
« Okay let’s do it! » We called Franz and said:
« Listen, you in a helicopter, are you in? » There it is, so we had a camera, and we went in the south of France, near Montpellier. We went to do all those shots -with Philippe Francq who is
-Yeah it was cool to have in the end credits an
helicopter pilot: Philippe Francq. We were in post prod and
we still hadn’t find our Vegeta. We looked everywhere
and still no Vegeta. The actor was hard to find. And I talk about this with
Anthony Pho and Jonathan Henry And they said:
« Wait! David! Easy! » So I said: « Who’s David? » And they show me a picture of David Doukhan,
and with Vianney we see this and said: -« Ok, that’s him! »
-« Directly! » Then we see more
pictures and to top it all he looks like Benjamin Hubert!
So we were quite happy, there is a consistency, so it’s cool We met David, who is maybe
the nicest guy on Earth. They said to me:
« We’re going to Normandy, to shoot in a field ». I said: « All right ».
We left early in the morning, they picked me up Again it was a 8000 Euros budget it’s absolutely ridiculous so
there was really a D.I.Y. side to it. « We took a camera and we shoot ». For me, they just said:
« You walk in a field ». They explained what was my character. I just play the guy who walk in a field. The new big issue was
with the Vegeta’s armor. We quickly need a suit for Vegeta.
So what do we do when we are in a big trouble?
We call Romain Lapierre, so we call Romain: « Romain, could you manage to do the Vegeta’s suit? ». I imagine he must smiled because
Romain worked on the movie but didn’t knew anything.
He’s a guy who worked on the movie trying to avoid spoilers. So we said:
« Spoiler alert, Vegeta is in the movie, we need you to built the armor ». So Romain, in a very short notice far away, without seeing the actor, built an armor who must suit the actor.
Vianney designed it very quickly, he made something really visual. It really has style. And then comes the shooting, and the armor doesn’t
work on David. Which makes sense because
Romain never saw David in real life. He never had the chance to make a mold
we worked remotely, which is normal, very complicated. So we decided: « Ok, the suit will just be a nod, people will get it with the
suit and the gloves ». It was really a nice beat actually. It’s the story of a father
who had to leave his family to go to war,
he knows he won’t make the difference,
but he trusts his son, he knows his son will.
Because his son is different. He’ll bring hope
or ask for help to the one who is the symbol of hope, and this is Goku. It’s silly but this little scene, Who took just an afternoon to shoot
is the emotional core of the movie. Actually it’s really hard to talk
about the story of the post production chronologically, like, just the editing… Just the VFX… Just modeling or texturing… It’s almost impossible because, Everything was made at the same time! With back and forth. And at one point, Erwan,
who is a friend of mine and who I met at film school. He was my drama teacher at that time. He asked us: « Do you guys need help? Do you want me to be your
post production manager? ». And I directly said:
« Hell yes, we really need help because we need someone to handle
the post production. » And Erwan helped us to outline the post production and
manage to finish the movie in time. I found myself on the project because I worked on
the France 2 TV Show « Chefs » Directed by Arnaud Malherbe.
During the first days of shooting I was talking with the making of guy
Lucas, I said to him I was a stunt and some days after
he calls me and he said:
« Yeah Anthony, I have friends who are making a DBZ fan film,
they’ve already start shooting… They need a fight choreographer and
a stuntman, would you be interested? » As a DBZ fan
I immediately said yes! We met Anthony Pho and
Anthony arrived on the movie. We told him what we wanted to do
and as we talked to him he gets a big smile! He went crazy,
and he gives some good vibes, always a happy mood.
Directly he had some good ideas, he has brung a lot to the table,
understanding the logic we had. Basically it was a heavy fight
so we figure quickly we will We have to design the fight with you,
we will record you and we’ll ask animators to reproduce
the movements for the fight. And Anthony said:
« I know a place to rehearse, we can go at Christophe Diez’s I-PROD. » I used to have a sound stage
at Palaiseau with tatami mat to train Anthony asked me if he could rehearse with friends of him, I said:
« No problem, come whenever you want. » The shooting and the choreographies
was made in two parts. One year apart.
The first one was Simpler that what we have now.
Basically Trunks trains. then fight Cell,
but Cell is so strong that he only smacks him
and the fight is over. At first the fight was one minute
long and was full animated frame by frame, only
by animators. This was a enormous amount of work.
We had shot references with the stuntmen: Anthony Pho and Jonathan Henry
and the animators would do all the animations frame by frame,
but it would be gigantic… For the fighting style, Yohan and Vianney
wanted something very brutal something we see a lot now
in the French Cinema and still keeping the DBZ spirit
which is very martial art oriented. With a lot kicks, punches,
high kicks… The fact that they fly had
another interaction. At this point we figure
that we needed motion capture. We needed that realism
in the movements, that exactitude. And we manage to have an
appointment with Solidanim We met Jean-François Szlapka
and we showed him the first 6 minutes of the movie, the 6 minutes we
screened at Los Angeles. And basically he said it was very cool,
just seeing the first 6 minutes He goes:
« Guys! You bring me back to my childhood! I haven’t seen DBZ in years And I remember that he’s Ten Shin Han,
he’s Krilin, yeah okay awesome, we’ll help you, no biggy! » From this moment we were
playing in the big league and we’ll have the fight
we really wanted, which he’s a big epic fight,
very heavy Where we can put the camera
wherever we wanted And mostly having a realistic rendering
for the movements, because with keyframe Animation it’s hard to be realistic.
We needed time and time is money and we had neither. Yohan calls me and said: « We changed our mind, we gonna
have a more substantial fight so we’ll use motion capture.
Are you available to shoot? » Me? Absolutely! Motion capture,
it was my dream to do it! Because I grew up playing video games
and movie animation and so on… It was game on for me and it was
a good idea so it can make the fight bigger. With is a real interaction between
Trunks and Cell. With Anthony and John we rehearsed
at Galaxy Stadium A sports hall at Tremblay-en-France
that lend us their dojo So we could re-designed the fight
and add more things that with Vianney We developed in between as the famous
big long shot in the middle of the fight and a lot of stuff
and we start building the fight around this. The moment we had the motion capture
the fight took a step forward. We went from a 1 minute fight
to a 5 minutes fight. Which is interesting regarding
the performance is we have to do long choreographies,
and they had to be perfect because it’s not like a shooting
with different set ups, Ok we can take this one, then a
piece of that choreographie. Here we had to do the entire choreographie,
Something like 20 movements each time. So it was Anthony and John
who will wear the costumes and basically what MoCap does is,
they have light sensors and there is 23 cameras around them
in the studio and the cams can find the characters in the 3D world,
in the 3D space to perfectly reproduce their mouvements in the computer.
And I ask Jeff: « Is it possible to have
sensors on my camera so I can directly shot
the stuntmen? » And Jeff easily answered:
« Yeah, no problem, we’ll put some sensors on
the camera ». And basically I figured, what
is going to be awesome is we could have the fight style
that I like, guerilla style camera handle, really close
to the actors, in 3D space. Basically we can reproduce
the camera mouvement into the computer and it’ll be realistic mouvements, Having the real operator breath,
which here is me. And from the motion capture,
Romain, the lead animator, should clean everything, which is
the stuntmen fought on the ground and he had
to make them fought in the air so it means that they’re not
exactly on the same level, that the height
of their feet changed and their moves are smoother. Romain did this for months, all by
himself, all the fight animation and re-do all the animations,
each time we called him: « Oh by the way, we have to
animate Cell and Trunks encounter, « By the way, we need this shot of
Trunks flies along the tower, We need this and this… » Basically, Romain was really
our main animator for the entire movie
and he did 95% of the animations some were made by other
animators who helped. The long shot was one the most
fun to do but also one the hardest.
Especially for the beginning I really enjoyed making this,
because it’s weird but, the most DBZ part,
which is the part where the characters moves so fast we can’t even follow them,
but it’s also the part where the fight and the music calm down,
because, it escalated until this moment and here the fight sink
and the camera don’t even try to follow them individualy but
follow the war zone in which they are fighting.
So we follow this field of impacts, of destruction which
destroy everything on his way. As it’s a volunteer project and
it was hard to find people who worked with us.
So we had first to find DBZ fans, passionate people by this universe and passionate by the project,
but I had to do 80% of The VFX on the movie and for the rest I had help By a lot of people who came
bit by bit on the project, who worked one month, two months,
three some time who helped and thanks to them because otherwise I couldn’t know when
the movie would be released. For the third eye of Ten Shin Han,
it was something very scary because make the audience believe
a third eye was a tricky thing. I really want to avoid CG,
a full CG eye will lack of realism, so what
we did with Yo is shoot my eye, and we did some
macro shot of my retina that I isolate and I put to
on the third eye, on the prosthetic that Alix did on
Ten Shin Han and I tried to match it by tracking the third eye and
try to make the third eye move at the same speed, exactly at the same
time as the other eyes, so they can follow the mouvement.
I didn’t wanted the third eye to be like the other two, if he has
a third eye it’s that it has a different purpose
and it should be a magical third eye,
something with another vision that gives him to spot different things. For Chaozu I used matte painting,
we shot Juliette Ceintre in the sand, we didn’t had a huge depth of field
we were very limited so what I did, I took
Juliette Ceintre’s body just a picture, then I did a
matte painting where I put Chaozu in it to create the illusion,
because we didn’t wanted a steady shot, to create the illusion of a tracking shot
and that we were in a real set with a moving perspective, I project the ground on a digital
camera who moves forward in it who separate a little the foreground at the pixel level
and allow to create the illusion of a moving camera in this fictional set, which is actually only a picture. With our very realistic vision of the movie,
it’s easy to say that a putting Super Saiyan in this world was very tough. It’s layers after layers.
It was a precise job done by hand eyebrows, eyes, hairs,
frame by frame. For the energy effects, it’s
something we shot with Manu and Yohan,
we shot an aquarium with carbonite snow in it, and we filmed
the surface of the water and the carbonite snow reacting, and
this is what the main composite for the Trunks and Cell’s aura. We didn’t wanted a commun particular
system, that maybe we can see a lot everywhere else,
we wanted to shoot things and took those real footage and
using them as layers to create something fake with a realistic base. In the CG world, the rendering
can be enormous, a CG frame could need one hour
to render, we need 25 frames, each secondes, it’s a day per second. A render farm is a computer network
who allow you to minimize that rendering time to make
a project doable that otherwise it couldn’t. In The Fall Of Men Project, for the fight scene in particular, it would
require 2 years to render the entire fight scenes, with our farm
only 3 days were needed. It was really important,
we had to do it very well: The sound. Basically when we met Lucas Fellous
and Benoit Marsalone from Talkover adding to the rest of the awesome images,
guys you can have fun to create a fight from scratch with the sound design and
we want this to be amazing. Vianney and I have a real precise
sense of sound design, it needs to be huge. And when they saw that it was
a silent movie and they’ll have to make everything,
it was an enormous work. Immediately what drew me was the
idea of creating the entire sound. There was no on set sound, so for us it was a challenge
really fun to say that from the tiniest wind sound to
everything else in the movie, should be recreate entirely, so it really
was a challenge. They let us real freedom,
for the artistic direction to take, the images spoke for themselves
and Yohan and Vianney quickly trust us.
I remember the first time we propose something, it was it, they came,
they were very happy and the entire project went like this,
where we had bit by bit new sequences with new images and so on. We offered something and it was
a discussion with them. They manage to be real discret, just,
making the sound not interfere with the music, and making everything a beautiful harmony,
with this organic images. And at the same time with the action scenes,
like the Super Saiyan, showing that yeah, the power is here,
we had to give energy, strength to the images and what they
did is a stellar job. We did some researches. For the sound of Cell, how it sound it the anime. There was this insect side. To make to sound
we went from a… A tiny metal object tight to a moving string and it makes some kind of sound that we modified, we slow it down, or speed up, depending on his moves
in the first. – And we…
– Densify it. Densify it down so it can be more massive, more frightening too. Regarding the mise en scène, because it’s Krilin
who hear Cell pass by. -It needed that idea…
-He’s been chased by the animal… Man chased by the animal. With Vianney, we wanted this movie
to be something really hybrid. Pretty soon, we realized that
a Voice Over was the answer. I was going at the I-Prod studios,
at Christophe’s offices To rehearse I think,
with Anthony et John. And in the car on the way there,
I was listening to Nosfell. He’s a singer
that I love for a long time now It has been a
while since I listen his music. So I listen his album
while I’m stuck in traffic. So I really listen to his voice, that I love And I said to myself :
’It will be really cool If he could make the movie voice over ! ». Yohan were listening
to my music and have been moved by my voice for a long time. And wanted to uncontextualize it And put it in his movie. As a narrator. In my works, there is a narrative part. On stage, I spent a lot of time
telling stories between songs. It made sense that they
asked me to Tell this kind of story. The moment he was in the booth
and start saying the first line of the movie, With Vianney we looked at each other,
and it was like… « Okay it will be awesome! ». We tried to make sure that the english language was correct and understandable And as rich as possible And as intelligible as possible. I am francophone by birth I don’t have that way to project the language. That is inherent for
most of anglos-saxons. And… And at the same time as you said It’s not a problem since
my character is an alien. And there, we used
the english language as The international language The language that is the most… The most understandable by all. As it is seen like it. And still
trying to honor it… In the syntax ! The Voice Over by Nosfell
is really really good. And I’m absolutely not
in some promotional thing But with a spectator feeling,
as I discovered it all. It gives a nice emotional
feeling to the scene And the music ! The music is really beautiful ! I was at a wrap
party for a movie I’ve worked on
that just finished. It is called ‘Moon’
(‘Lune’ in french). A documentary by
François De Riberolles. We were celebrating
the end of this lovely documentary. And in the middle of the room, I see… I see Tess ! A young women who
was there in the middle of everyone. She was showing
a video on her cellphone. And I see everybody around her And everybody was saying : « Waw, what is it?! » So I come closer
and look attentively First I don’t really know
what I’m looking at I just see that it looks great. I thought that the visuals looked good. And at some point I see A guy who does that. And he’s going to shoot A fireball and I say to myself… Wait… A guy with three eyes… And I say : « Hey it’s Ten Shin Han! » And I say to Tess:
‘It’s an upcoming DBZ movie?’ And she say to me : ‘Actually no, it’s a fanfilm About DBZ That is on post production. And I say:
‘Damn that’s great!’ And I watch it with everybody
around the iPhone. And she say to me : ‘I’m the producer, the director is called Yohan Faure’. He say to me : ‘Awesome project, really cool ! I’m also an huge DBZ fan ! Don’t you looking for
a composer by any chance?’ At this point I thought
he was kidding, but I said to him: ‘Oh yes !’ I don’t know, I think that A week later, or maybe less than that They came to the studio To show me their baby ! We showed him
what we had at the time, The first six minutes of the movie, with our temp tracks
that we put in at this time. And we said to him that
we really wanted a warmth or something. We want the music to be
played by real instruments. We want it to be orchestral. And that the music really kills it. The references they gave me… They told me That they loved John Williams. And that put me
a bit of pressure… Because John Williams He’s a God, you know… He’s the Daddy ! And I’ll never have
the arrogance to say : ‘You want some Williams? No worries, no problem !’ With an impressive
power of persuasion, Yohan succeed to book
meetings with… People… Musicians… Who lead us to Orchestras. We went to see them to rehearsal. And at this moment we met An orchestra named La Séga (now Pixelophonia). It’s a musical ensemble That covers video-games music. So I said to myself : ‘Okay it’s exactly what we need. It’s really perfect!’ They were really interested. So much that two weeks later… We had booked… 26 or 27 musicians. Awesome level.
Awesome musicians. All were young. They were all passionate. Excited, everybody
were DBZ fans. And that helped
It was really cool. I remember when
I came to the studio To listen to the music
piece for the movie ending. He was like : ‘Okay, I hope you like it’ Every time, Stéphane was like : ‘So tell me if it’s bullshit okay? But I hope you’ll like it.’ And then he puts play
on the movie ending music. It was mind-blowing because listening to this music, I remembered
all the shooting. All post production issues. All the shooting problems. All that… And at the end, when it all end
I had the impression that I lived as much as
Trunks in the movie… And I was in tears in the end.
The music really made me cry I said to myself: ‘Okay, even if we fucked up the movie At least we’ll have a beautiful music!’ For me, it’s really a global project Because it’s like a dream As a spectator to see guys doing DBZ like this. It’s a dream to play a Super Saiyan. Obviously! It’s a dream when you think that The project originated
from a discussion between two beers in a countryside festival. And it will be the movie that it is now. That’s some beautiful stories, really. I was really proud
to be part of the project. Furthermore, On the art side, I was convinced. There’s a lot of fans, some anecdote, who contacted me on Facebook. There was dozens of women…
Women and fans ! Who friended me on Facebook
who came from South America. « What ? There must be a problem ! ». One, two and then I got it ! And it was really cool for me. That fans find themselves in the project. It’s a real accomplishment for Yohan and Vianney. Who worked two entire
years without a payday. Working hard. It just blew me away. Even if you follow the advancement of the project along the way. The little clips and teasers
you can find on the internet. But when you see the entire movie
and we saw it in a theater We always say ‘It’s gonna be good’. But as it is, with that king of a budget,
that much time spent on All I can say is ‘Hats off !’ Then comes the big date
The October 27th. -The freeing…
-The liberation ! -Or not ?
-Yeah ! Or not ! So the advance screening at the Ecole Méliès in Orly. So we had to show the movie in front of
the whole team, the press our friends, our family, students of the school . After the 27th we left
the day after on the 28th To Los Angeles. And we showed the movie for our World Premiere -Public !
-Yeah. At the Stan Lee’s Comikaze… -The 31st…
-October ! So it was the first time the public -Was seeing it…
-It was a total stress ! Yeah it was horrible ! Because the screening on the 27th Was well organized and all. Natacha Thomas
our press agent really organize a dope event. But at the same time
it was guests and all. For the Comikaze
it was the audience. It was the target audience
and we asked ourselves: ‘Okay, will they like it?’ -And it was people that wanted to see it,
-People that waited to see it. And then, the theater was packed.
And it was the audience… I was really… I was really scared during
the screening. I was on the ground, I didn’t
wanted to see the movie, the audience because it was really scary for me. The american audience really react in front of the movie. And when there is Sangoku at the end. At last we can say it publicly: ‘Yeah, there is Sangoku in the movie!’ When we feel the frustration Because we don’t see his face. Damn, it was a real blast. It was really great to feel that It seems to be please the audience Some people left after the credits because we were at the
same time as Princess Leia. -Ah yes, right !
-There was Carrie Fischer -Who signed…
-An autograph session. So I think people think that : « Okay the movie is over,
hurry I’m out of here ! ». So there was not
a lot of people But that little group of people
with whom we discussed in the theater when
we did our panel, our World Premiere panel. It was super cool. People asked a lot
of great questions. They were really interested. By the project, by is gonna -come next!
—If there will be a sequel or not!? -Yeah…
-By the way, there is sequel or not? And so… Here we go, we have to
put the movie online. Everything seems alright,
we have to click. And that’s silly but we wanted to kind of click together on the button. Like: « Let’s go,
let’s put it online together ». In Big Bang Theory
they do the same thing. We wanted to put it together
but we fucked it up! -Ah yes!
-Yeah! -Yeah!
-We fucked up, so… Yeah, do this and I’ll do that! He putted it online and I posted it on Facebook. Yeah! And it was weird. It was moving because… You don’t realize on the spot
what’s going on. -No, not aware at all…
-OK your baby has flown from the nest! It’s free, everywhere,
everybody can see it. You have to know that
in a few days, there was millions of views. And we wanted to celebrate
the first million. We had a beer for to celebrate
the first million… It was too late, it was
already at two million… So then we said to each
other: « That’s dope! ». That’s super cool. -And most of all, the positive reviews.
-Yeah. That, this is great. We could say:
« Okay, that’s cool, the fans like it. » -It was the real goal!
-We were really scared. The bias we took, could really disappoint a lot of people and no, we are really to see that… People like it! People widely liked it! Very widely!