Actor's auteur

French director Patrice Leconte might have started off as a cartoonist before making the leap to cinema, but he's never looked back. Now some 30 + years later, he's known as one of France's most eclectic filmmakers. Monsieur Hire, The Hairdresser's Husband, Ridicule and The Man on the Train are just a few of the films that have brought him international acclaim. As a child he recalls "feeling captivated" by movies and their ability to transport him to other worlds and that's something he's strived for in his filmmaking as well. His inspiration comes from reality, he says "but then I move beyond reality so the imagination can fly". His latest film is a case in point. My Best Friend is a witty and sharply observed comedy about a man who realises he has no friends. To win a bet, he has ten days to produce one. Gaynor Flynn caught up with the 60-year-old director (and his translator) at the Toronto International Film Festival.

Where did the idea of the film come from?

PL: It was written by Olivier Dazat and they needed a director and Jerome Tonnerre brought it to me. Immediately I loved the story, although I had some worries about the plot but once I agreed to making this film we worked to overcome these worries.

What was it that you loved about the story?

PL: I thought it was very funny this idea of a man who has no friends and makes a crazy bet to show others he really has no friends. I thought this was very unique idea and I thought this idea of friendship and not having friendship was like a great love story. I also could relate to this because like Francois (Daniel Auteuil - Cache) I could not name a best friend but for me it's not a prevention to living. I can still live.

Often in your films you manage to combine drama and comedy. Is this something that is important to you as a director?

PL: Yes, but in this case we thought it was a comedy from the beginning. As the story blossomed I felt dissatisfied of this lightness. Friendship is a serious business I decided and I wanted it to have many textures, light and dark.

The tone of the film is like a dance, how was this arrived at?

PL: I take my work very seriously but I don't take myself very seriously. And I come to realise that films that are too serious the public will reject them. It's better to take the public by the hand and bring them to something that is lighter so when you bring the public to something like this, they are more comfortable.

Can you talk about your casting choices?

PL: I had Daniel Auteuil in my head immediately. It was easy to imagine him playing this guy who was against friendship. We had to find someone believable and who was understated otherwise it would have been too much for the audience in the beginning and they would have been expecting a certain type of behaviour. Dany Boon (Joyeux Noel) is someone I want to work with for a long long time. He's very funny guy and he's a stand up comedian, but he is also begin to get recognition as an actor. In his acting he has a direct approach, a simplicity that is appealing for the audience. You want to know him I think and there is something about him that makes you curious as an audience. So these two actors I said I must have.

Did the two actors form a real friendship during the course of the film?

PL: Immediately. Immediately. They both had admiration for the other. They knew each other's work and they looked forward to this partnership very much. And you know sometimes if you have two stars in a movie one can want to have the best lines or the most close ups you know? But here no. Both had much respect for the other.

This is the third time that you've worked with Daniel Auteuil. Would you say you have a short hand between the two of you that makes working together easier?

PL: Yes I think this is a good interpretation. But in the beginning I think we understood very well each other. I am happy to lead the audience by the hand into my films but actors no. I never spoon-feed actors like babies. I make sure the script is well written and everything is there for them to know. And Daniel likes this way of working. He never asks a million questions. He thinks about the script and then he turns up for wardrobe and rehearsals and that's it. So it's very easy between us.

You said earlier on that you don't take yourself too seriously, what do you mean by that?

PL: If I take myself too seriously I'm afraid to create things that are too heavy. Not to be modest, I don't highly estimate myself I'm just trying to do my best.

In terms of your body of work, how do you rate this film? Do you think it's one of your better ones?

PL: When you make a film you can never say if it's good. But what you can say is the film that is on screen was the film that was in my head. And sometimes I make films that were not exactly what I had in mind and I try to forget those films. But this one I don't know how the public is going to react but I know its what I had in my head. It can't be my favourite film because my favourite are films that we haven't made yet.

Would you say you're your own worst critic?

PL: Even if I honestly try to do my best I have the feeling I'm always underneath of my dream film. I hope that Fellini and Orson Wells said the same thing to themselves but I'm not sure. Ask them.

Is there any truth to the rumours that you plan to retire soon?

PL: Yes of course, I began those rumours. (laughs). No for me it's important to stay fresh in my mind. When I feel there is no freshness then I want to go, or before then I go. I have more films in my mind I want to do maybe three, maybe four then we'll see.

What do you plan to do as a retired filmmaker?

PL: (Shrugs) I don't know - in fact I think I will be very bad at doing nothing.

Gaynor Flynn

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Patrice Leconte - interview

Film: My Best Friend
Release: 24 May 2007
Rated: M

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