(:: History ::)
1)Laura is 10 years old. Laura is a hoyden. Arrived in a new district, she makes believe to Lisa and his band that she is a boy. Action or the truth? Action. The summer becomes a big playground and Laura becomes Michael, a boy as others … different enough to draw the attention of Lisa which falls in love it. Laura uses her new identity as though the end of the summer has never gone to reveal its disturbing secret.2)Laure is moving into a new neighborhood with her little sister Jeanne. Because she is in need of new friends and does not know anybody, Laure decides to dress and act as a boy. She becomes close to Lisa, who does not know her new best friend is not a boy.
Date (s) of Exit (s):
April 20th, 2011 | 
November 25th, 2011| Accomplished by: | Céline Sciamma |
| With: | Zoé Héran, Malonn Lévana, Jeanne Disson, Sophie Cattani, Mathieu Demy... |
| Distributor: | Pyramid Distribution |
| Type: | Drama |
| Country: | France |
| Length: | 1 h 22 |
(:: Trailer for Tomboy ::)
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(:: Pictures Of Tomboy ::)
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(:: Scenes of the movie ::)
Maintenance with Céline Sciamma:What is the starting point of the film?
TOMBOY became terrifically quickly. Less than a year separates its writing of its exit in rooms. I began writing scenario in April, 2010, and we turned in August. The film turned in twenty days with a team of fourteen persons. These some landmarks reflect the state of mind of the film, the radicalité and the dynamics which I wanted. It is it the starting point of plan, this philosophy, this desire to work in another way. It had been a long time since I had in mind this history of a small girl which passes for a small boy. She has a taste of unpublished, in sense where the questions of identity during the time of childhood aren't so often treated as it in the cinema. There is almost a taboo in the evocation of childish confusion. While childhood is the place of strong feelings and in a form of sensuality. To play the game of the economy in which we turned, I settled some rules, notably by imposing me not to exceed fifty sequences and locate them in two main decors. Fifty sequences were to be essential for the story, what allowed a big concentration, stages charged with stakes. It was also a means to remain free and to continue inventing at all times. I didn't hesitate to abolish and to reinvent sequences from one day to the next, especially by working with the children of the film. With TOMBOY, I felt like making an energetic and free film, and testing other things in terms of the production, cut up more, working the rhythm of sequences and of film in another way by limiting plans-sequences. I wanted a solar film, contrasted in feelings.
The question of identity for the child, principal character of the film, begins and ends by the affirmation of a forename: Michaël / Laura …
She tells she is called Michaël thanks to a misunderstanding. They think that she is a boy and she doesn't deny. It occasions who makes the scoundrel. I didn't want to put her in heavy self-defining problems before they ask her how her name is, even if it has the short hair and that it already has this appearance of small boy. Up to the sequence of the bath, the spectator who would know nothing in the film decides alone if it is about a small boy or about a small girl. It is the look other whom decides on what they are. It questions the look of the spectator in the same way as it questions the look of Lisa who thinks that Michaël is indeed a boy. I am haunted enough due to the fact that stories have to be a bit pop. I wanted that history is written as a story of infiltrating. As a cop who passes for a mafioso thanks to a mistake. I like the idea of an instant when everything topples over and where a character must then take consequences. I wanted a simple and efficient dramatic art, a character with a strong objective in a dynamics of double game and therefore of suspense is followed: Laura / Michaël wonders permanently if she is going to be unmasked or not and the spectator with her. This woof allows identification and empathy. The questions of type and of identity concern everybody. Especially in this period of childhood where they speak about "fancy dress" and not about travesty. It is possible to read the beginning of a decisive and radical itinerary or then a parenthesis in the life there of a child who chose this at some point.
How did you find Zoé Héran, the little girl who plays Michaël Laura/?
Casting was our major preoccupation, precondition to launch into the adventure of the film. It was necessary us to find a small persuasive girl in boy and capable of interpreting it. We were in a hurry by time, because we had only three weeks, before the deadline to be in legality to the administration which manages the child labour. We had no time to go about things by wild casting. It was necessary us to dig over among the children in Agency of actors, often with physical appearances and with advertising experiments. It is difficult to believe but we met Zoé the first day of casting. In retrospect history appears as romantic but it has been it already over instant. The rare pearl. I was right away marked by her photogenius and its attitudes. She had the passion of the football, wanted to cut her long hair and had natural in the small trial stage a lot that they got her. She was already "fair «, there was means to work with her. To find her helped a lot us for the research of financings. People saw its photo and received obviousness immediately that it was really the character. The emergency of the film was represented.
How did you find other children?
For the small sister, we met a dozen little girls between 5 and 6 years, very very cute, but which stuttered rather well, and spoke as babies. Malonn Lévana, the little girl whom we chose, had at the same time the physical appearance which I searched and of maturity in expression, a lot of vocabulary. It is very difficult to measure the potentiality of commitment in the job of a role for such a young child. The day of our meeting, it didn't want to leave the office any more where it had passed casting. It has already been therefore a good thing: she felt like being there. But what definitely persuaded me, it is what took place when she met Zoé. Something immediate and of accomplice in the reports of a 11-year-old little girl and of her younger "sister". It was then necessary to find Lisa, what wasn't simple because I didn't want a small princess pretty and sure of herself but a small strange girl. The head of casting introduced me Jeanne Disson, a small girl of her district, who had never thought to play the comedy. She was 9 years old, and was very childish at the same time and in a big sensitivity. We linked her to Zoé the same day of our meeting, there was discomfort and seduction between them, as between a small girl and a small boy. Stake and difficulty on the character of Lisa, with such a young interpreter, it is transparency which it is necessary to show in the explanation of the role: play the loving of a small girl, assert feelings. The characters of Laura / Michaël and Lisa, are roles where it is necessary to compromise, to be in the middle of stakes of the characters. It is a true job of actor. Having chosen them every three, we thought about the casting of children's small band which encircles Michaël and Lisa, but that wasn't still very drawn in scenario. They then made the decision to choose the true friends of Zoé in the life, a dozen children, between five and twelve years, with which she played the football. I invented their characters during filming and we asserted them in assemblage.
Was it easy to run them?
The most difficult, it is that the children get tired very quickly and that they have no notion of responsibility of job: if they don't feel like working, they don't work. It is necessary to stop at the instant which is most only for them and not for oneself. All the more so as we had only twenty days filming, what implicated the bet limps with it of two or three sequences a day. It is necessary to create a balance between complicity, attention, generosity and authority. I underestimated all that before filming and fortunately because otherwise I would have never made the film. Stages between the girls aren't based on improvisation. Everything was written. But the methodology to get stages was adapted to the children. They turned catches of a dozen minutes when it was possible to do again sequence several times in a row. I cut not much not to impress them with the sententious and a bit religious folklore of silence set and of the clapperboard. Idea was to set play situations up to create the natural. I have never asked them to make what they wanted, left luggage offices were definite before and during catches where I spoke to them continuously. They were never put in a situation of abandonment. All that one didn't think of of precondition in their exchanges could have charm but was always worse. All rushes which we had, we kept mainly instants decided upstream and prepared. The sequences of groups are less written, there is more than happening. At this moment there, it is the production which is more hired and locks upstream.
They are filmed as a group a bit incoherent, but very choreographed …
In the stages of game (the beret, football), I was really fond of this choreography of bodies. I wanted to give them at the same time a big freedom, to receive all what they could bring spontaneous, and at the same time stage them really. These are sequences where there is most cutting up upstream, where the machinery intervenes, with trackings. For stages with stakes of word of group, as that of’« Action! The truth!» there was a tapestry work. We created the stage progressively by letting it be taken in game. I pointed questions out to them during catch while preserving their part of improvisation. The notion of choreography and of frame was very important for me. Because the children are in an energy which includes the unexpected, I wanted a thought strong in the production. Put down frames, turn Credit with a camera on foot and not in the shoulder a strong look and an interventionniste on this living matter. We turned camera in the shoulder only when it wasn't possible to make in another way, or because this answered the energy of the stage (as the sequence of the fight). Where then for questions of wandering or of size of the children (it was necessary to be at their height!).
For Zoé, was it necessary to work his boy's attitude?
She already has this in her. When hair was cut her, this authorised her to have her even more! This duality was familiar to it but it was necessary to encourage it to express it and to compose a character. Laura / Michaël saw permanently double stakes and contradictory emotions. Between recklessness, pleasure of instant and sharp conscience of its lie. Our working relation was also built around contrasts. We had no same relation when she had to play Michaël or Laura. Sequences where she plays Laura are in inside, I was very concentrated on her, reports were softer, more childish also between us. While for Michaël, in outside, our relation was harder, more muscular, with a different tone of voice to make itself heard also of the group. It was more difficult to run her in the presence of his mates, she receded very easily. It is an implicating role and I understood temptation to escape it.
It is possible to see in TOMBOY a variation on a female trio that they found already in some way in BIRTH OF OCTOPUSES.
That's true, even if I didn't realise it by making the film. This trio forms a rather classical triangle at the bottom, with additives and opponents who create the circulation and who melt an efficient dramatic art. It is also a will of variety of rhythm and of tone which makes me write characters in different energies which make job easier then on contrasts and breaks. I wanted this part of comedy often brought by the small sister in the film. Even if the character takes care much more than this job. Stages between Laura and her younger sister are perhaps the most intimate instants of the film. These instants which concern the siblings are very personal. I felt like speaking about a creative relation with a younger sister, feeling to be elder, joy and weight to be the absolute referent. It was a lot of job because both actresses are only children and didn't have this experience.
I have the feeling that reports between parents and children go out of traditional plates …
I wondered a lot in this respect. I hadn't put grown-up faces in BIRTH OF OCTOPUSES just by fright at finding me with the plate of characters who would produce nothing else than opposition or obstacle. With TOMBOY, I wanted these characters of parents, to tell tenderness and family complicity. That they have a feeling that reports aren't really the same with his father or his mother. It was almost a film in the film, a column of the daily. It was important for me also to show that Laura's attitude wasn't procreated by an escape of realities: Laura feels well at home. The family unit isn't a counterpoint which gives the keys of the character. I wanted to create reports which aren't instrumentalized by invention.
Why to have wanted to turn with this camera - camera, the Cannon 7D?
Because he perfectly met requirements of the film, suppleness and lightness. But it is also a true aesthetic choice. I love very much his return of colours, possibilities which it gives in the treatment of the depths of field. I was haunted due to the fact that the economy of the film had to be accompanied by a hired artistic direction. With a voluntarist intervention on decors, costumes, colours and picture of the film. The camera also confused deal, because Crystel Fournier, leader-operator, hadn't used him yet, and could have a good time taking possession. As she is less heavy than the traditional cameras, it allowed more easily also to film at the level of the children. And then I like the signature of epoch. There is a side «here and now» which is very well suitable for the film.
There isn't music practically in TOMBOY, safe in the single sequence of dance …
I wanted to make a film without music, but I wanted a stage of dance. Paratrooper One (who had already made the music of BIRTH OF OCTOPUSES) and Tacteel made me listen long before filming to this model of song. I decided to use it and to choreograph dance around this music at a definite instant of the film, that where appears the love story between both little girls. It is a solar and childish piece, with the melancholy of melodies as a counterpoint. I really liked idea that it is a song, and that it returns then, during the generic of the end. The film would have been able to accept music, but it created a distance between the character and the spectator, as a grown-up comment on situation, where the film tries continuously to be at the level of child.
In what to make this film is it political?
There is a pressure always around a second film, other stakes. As though things became willy-nilly heavier to hit with the road very drawn by the budget which augments, pressures of casting were linked to financings. With Bénédicte roofer, my producer, we felt like hiring us in another way, without putting us therefore in the margin but by managing the question of time and of money differently. For me, to advance it is to win in freedom, in autonomy, to be able to experiment of new ways of producing and of staging. And this, it is political.
Purposes gathered in February, 2011 by Bernard Payen
