La parole au scénario

The mystery of cinematographic creation is fascinating. In the process of making a film, its writing is the “number one” step. It is precisely the mystery of this operation that “The word to the script” attempts to elucidate. We have given “the word” to some script writers (who will speak for themselves):  Pascal Bonitzer (« La belle noiseuse » by Jacques Rivette…), Jean-François Goyet (« La vie de famille » by Jacques Doillion…), Jean Gruault (« Jules et Jim » by François Truffaut…) ; film-directors of their own scenarios or scripts : Olivier Assayas (« Paris s’éveille » …), Jean-Claude Brisseau (« Noce Blanche »…), Raymond Depardon (« La captive du désert »…), Alain Tanner (« Dans la ville blanche »…) ; and actors : Emmanuelle Chaulet (« L’amie de mon amie » d’Eric Rohmer…) and André Dussollier (« L’amour par terre » de Jacques Rivette…). The angle by which to grasp this reality is made up of the following: the origin of the stories, the degree of the precision of a script (somewhere between the scenario conceived while shooting and the storyboard), the rapport of the actors to the script and the ties between the writing and the production.