– CANNES 2022: The “France 2030” call for projects aims to promote the creation and modernization of film studios and the development of training throughout the territory
(lr) Vincent Florant, head of digital at the CNC; Caroline Champetier, DoP and Director, AFC; director Christian Carion; Valérie Valero, decorator, EcoDeco; and Marc Vadé, Head of Productions, Gaumont
On the CNC beach at the Cannes Film Festival, the morning of Sunday May 22 was devoted to the “France 2030” operation. The head of the CNC, Dominique Boutonnat, sums up the objective of this call for projects entitled “The Great Image Factory”: 350 million euros in public subsidies will be mobilized by the CNC from the Caisse des dépôts et consignations in order to raise 2 billion euros investment in film studios, digital studios and training. Three territories are particularly targeted: the Ile-de-France region, the Nord department and the Mediterranean arc.
Marc Vade, head of productions at Gaumont, recalled that for the past three years, the demand for shooting films and series has exploded, the workload having increased by 30% on average. “We had never seen this before: previously, some shoots had to wait for the actors to be available, but today we have to postpone the films for lack of technicians! We are sometimes forced to pay renters, sets and crews in advance, without even knowing what project they will be working on.” Caroline Champetiera famous cinematographer who worked with Leos Carax on Sacred Engines [+see also:
interview: Leos Carax
film profile] and Anette [+see also:
film profile]as well as with other directors, “the New Wave drove us out of the studios. Today, France is experiencing long delays in their construction and renovation. , backed by schools and integrated into the city. Like Cinecittà for example: a studio must have a global vision.”
The director’s next film Christian Caron, Good racewill stage a very long taxi ride with Dany Bonon as a driver and Line Renaud as a passenger, everywhere in Paris. “This film would have been impossible to shoot with a traveling car in the capital, a city where it is becoming more and more difficult to film.” Five weeks out of the six weeks of filming therefore took place over a 1,000 m2 space in Studios Montjoie in La Plaine Saint-Denis. There, the team installed an array of LED screens onto which images of Paris were projected, extending 180 degrees around the taxi. “Projecting onto LED screens is much more interesting for the director, but also for the actors, than filming on a green screen. The effect was incredibly realistic,” Carion said.
After this example of the use of new filming technologies, set designer ValeLaughing Valero mentioned the importance of old-school craftsmanship. She is one of the instigators of the mass movement which prevented the sale of the Studios of Bry sur Marne to property developers ten years ago. “I worked there during the SFP years, and these studios were extremely well thought out because set designers, painters and model makers participated in their design. Our know-how is important. We must save Bry before creating new studios.” For two years, Valérie Valero has also been actively involved in the environmental aspects of filming. In the 1990s, sets were built and then removed. “At the SFP, there was a system of ‘repertoire cards’, which we used to build the set and which were then reused later. What we do today by using the Ressourcerie du cinema in Montreuil for our sets is very simple: they recover the materials and rent them out again to professionals.” The sets represent 20% of the carbon footprint of a shoot. Marc Vadé told participants that for Jean-Francois Richetit is The Emperor of Paris [+see also:
film profile], the streets of the capital of the Napoleonic era were rebuilt in Brétigny, and the whole was then destroyed. “In Morocco, the sets from Atlas studios have been used 1,000 times,” he explains. For the studios of the future, you really have to think about the backlot: why not build an entire Parisian district, prevent the decor from being thrown away, and make it reconfigurable according to the stories we tell each other. And for that, we have to revive professions that no longer exist, such as masons, crew members, etc.
Training is therefore the second important pillar of the France 2030 call for projects. It will obviously not only be a question of training technicians and decorators, but also of relying on the strongest sectors of French industry. : animation, new visual technologies, writing and production of series. The political commitment is to double the number of young graduates annually in the sector to bring it to 10,000 people per year.
(Translated from French)