• Jean Jacques Olliva

Conroe presler fsb 1066 motherboard driver for mac pro. People always do. When cinema was invented, theater writers and actors hated what they called its vulgarity. When sound came, they declared the end of cinema. When color came, they thought that it was giving viewers too much information. Again, it was again the end of cinema.

Well, not quite. How did you meet Jean-Marie? He was the assistant of Robert Fraisse, with whom I also shot four films. Fraisse did not want to follow me into digital. He wanted to stick with film, even though I explained to him this was not video, this was digital.

Then I saw a Chinese film Jean-Marie shot in Yunan, “Balzac and the Little Chinese Seamstress.” The next movie I wanted to do had big nature shots as well as intimate interiors, and I liked the way the Jean-Marie captured space and lit intimate scenes. Now you’ve done a TV series with him.

I had not done TV before, but for 10 years I’ve been thinking of getting into it. People today love long TV series – a longer form of storytelling. And there’s a migration of talent to TV. I wanted to experiment. In order to stay alive, you have to take risks. And why this particular series? I read the book and said, “This is not film, this is TV.” It has 800 pages and 30 interesting characters.

I thought it was impossible to do justice to the book in a two-hour movie. What was the production like? We used up to seven cameras.

Jean Jacques Olliva

The story takes place in Maine and we shot just over the border in Quebec. Usually I have 100 days for 1 hour and 50 minutes of film. For this project I had 80 days for nine hours! I enjoyed the pace. Sometimes we shot the rehearsal and that was it.

The most I ever did was seven takes and I felt embarrassed. Yet on a film I can do 20 takes and feel alright. I was excited. I don’t want to feel comfortable when I shoot. Creativity is better if you have a certain level of discomfort.