Marjane Satrapi & Vincent Paronnaud (The Bat Segundo Show)
Marjane Satrapi & Vincent Paronnaud are most recently the writers and directors of Chicken with Plums.
Condition of Mr. Segundo: Wondering if his creative skills can be adapted.
Subjects Discussed: Adapting graphic novels to film, Natural Born Killers, sitcoms, Hollywood’s insistence on remakes, splitting duties as co-directors, the importance of preparation, fights during production, the importance of death threats to the creative process, Satrapi’s panels as white backgrounds, creating a cinematic look, separating the graphic novel from the film, when words cram up a panel, spending two years to prepare a film, research, German expressionism, limits on cinematic exaggeration, why vulgarity and bad taste is important, Who’s the Boss?, being inspired by high and low references, the importance of humor, finding a common vision, fighting over small details, being gentle with other people 90% of the time, the miracle of clashing personalities agreeing on something, Chicken with Plums‘s reduced politics from the novel to the film, naming characters after nations, Jean-Jacques Annaud’s The Name of the Rose, books vs. films, Erich von Stroeheim, art vs. commerce, stress, the virtues of being left in peace to make your own film, how actors provide emotional resonance, directing and finding the right actors, the freedom to telephone an actor in Europe, the importance of creating a fantastical playground for actors, and Satrapi’s tendency to choose silhouettes for the visual style.
EXCERPT FROM SHOW:
Correspondent: I am extremely fascinated by the way that you adapted this movie, that you’ve adapted both of your works. In Persepolis, there’s this extended winemaking explanation for the secret parties. There’s also the increased attention to shopping with, of course, the Marjane in that saying, “One of my favorite pastimes” over and over. Which suggests something that was almost explicitly designed for the cinematic medium. Now in Chicken with Plums, you have a number of moments that take on greater life in the film adaptation. To just cite two, you have the various deaths that Nasser Ali imagines, which is only half a page in the book and which becomes this glorious montage, this wonderful set piece. And then you also have this satirical episode in California in the book take on this kind of 1950s sitcom, kind of like Natural Born Killers but a totally different style, in the movie. So my question is: do you see these movies as a way to improve upon what you laid down in the books? Or do you see them as separate entities that only film can actually create? And what do the two of you do to heighten certain moments and silent other ones?
Satrapi: No. I think a film has to have its own identity and entity. This is not that I think that the books, they are bad and that’s why we have to make the movie. And actually, you know, for myself, I never want to make a work of adaptation ever again. Because it’s very boring. You once have to think about the story in one way and then think about it in another way. But it was a reason for that. And that is that it was my idea to make Persepolis. I had a friend who wanted to become a producer, who proposed to make Persepolis, and somewhere, you know, deep down of myself, I always thought why not try something and learn something. In the worst case, we will make the worst film in the world. But at least I have learned something. And I proposed it to Vincent, who is a very good friend of mine. We used to laugh a lot for the joy of working for him. And he said “Yes!” And so we started doing it. So we made this Persepolis and obviously it got all the attention it got. And we thought that because we were Oscar nominee, now we are going to say we are going to make another film. And it will open the door to a room with billions of dollars. And they tell us, “Take all the dollars that you want and make your film.” But this is not true. Because we are living in a world of remakes. Everybody wants to make a remake of a film. We want to make the things that have already been done. Like before in Hollywood, somebody would go with a script, see a producer. Producer would say, “I would like to watch this film. And maybe, if I feel like seeing it, other people, they would like to see it.” And today you go, and I have already seen this film. It has made me lots of money. So I want to see it again. So it’s a big major difference. But in order to try something new, we had a reason, a specific reason, why we made Persepolis in animation. Because we wanted to be universal. And since that was a story, a specific story of a specific movement of the specific country, the fact of putting it in a real geography with some type of real human being, that’s what I’d been rejected from the other one. Like this geography, we don’t know. These people, they don’t know, they don’t look like us, but the abstraction of the drawing actually gave us the possibility to having a much more universal thing.
Here, we have with Chicken with Plums, of course, you have to make a work of adaptation. You have a story. You read the book. You put it apart. You take whatever you think is usable for the film, like the structure. Some dialogues. Etcetera etcetera. But then language of the cinema is very different from the language in a book, in the comic books. So you have to think cinema. And then for the highlights of the film, the question of rhythm is just as possible just by working a lot. The fact is that both of us, we like to laugh a lot. The vision that we have of the world and the complexity of the human being, the visual style are the things that we have in common, but that we work a lot. This is it.
Correspondent: So how do you two riff off each other? How do you two work together? I’m really curious to get Vincent’s thoughts on the adaptation and the creative process as well. Vincent, do you serve as a veto mechanism or anything? How do you contribute to this? I’m really curious.
Paronnaud (as translated by Satrapi): So it’s really very easy. I read the book. We see each other. And we talk about the way that we are going to make this work of adaptation. So it’s very important. Because, you know, these meetings that you have at the origins are going to affect whatever we will do later. On the set, in the way of filming, in the way of treating everything. And I work with Marjane because I love the story that she says. And my personal universe, the personal world of my own, is really the complete opposite of what she does. So it’s stimulating intellectually and artistically. Then I say all of that. Because then, you know, when we arrive on the set, we split the work. Because we have prepared it. So Marjane is with the actors. And I’m with the cinematographer. And sometimes we have lots of tension. And it doesn’t work. But most of the time, it does.
Correspondent: Oh really? So if you’re splitting it down between technical and acting, how did you two collaborate on the first film? How were the duties split for Persepolis?
Satrapi: Well, for Persepolis, it was the same. I would go and simulate the movement in front of them. We would choose the movement of the camera. The background. But all of that is so much related. Because like acting is when you are directing a film. You have to think about actors, but you have to think about the frame. So everything is connected. It’s not like you have one part of the project and the other part. So since there is connection, that’s what we were saying. You know, this work of preparation is very important. Because like that, we know what the other one is doing. But sometimes, you know, I don’t like the framing that he does. I give a direction of acting that he does not like. Most of the time, he goes, “Fine.” But sometimes it’s a fight. You know, we go out. We yell at each other.
Correspondent: How detailed do these fights get?
Satrapi: Like “Go fuck yourself.” Things like that. And in the night I pray that he will die.
Satrapi: He says that they pray that I die too. But then we sleep. And then here’s the actors. And we have forgotten. And the result of that is that we are still friends.
Correspondent: So death threats are really the best way to get the creative process flowing, I presume.
Satrapi: Absolutely. Death is always the best for everything. We have to be aware of our death. Because that will come, even if we want it or not.