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ÉCU-The European Independent Film Festival


ÉCU - The European Independent Film Festival is dedicated to the discovery and advancement of the very best independent films from around the world. We are a festival who believes in our independent filmmakers and their artistic talents. ÉCU proudly provides a unique platform that brings together diverse audiences who are hungry for something other than major studio productions and original and innovative filmmakers. 

 
The 14th edition of ÉCU - The European Independent Film Festival will take place in Paris, France in 5th, 6th and 7th of April, 2019.
 
For more details regarding the festival, please visit our website at www.ecufilmfestival.com

 

 


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Kubrick at the Cinémathèque

From
cameras and costumes to cahiers and clippings, the Cinémathèque
Francaise’s Kubrick season is an insightful exhibition for everyone from
cinema novices to devoted followers alike.

First things first, let me just say that I am no great expert on
Kubrick. I’ve seen his major films (with mixed reactions) and I’ve read
articles with a passing interest, but he’s not a director for whom I’ve
scrambled though library back catalogues to find first edition copies
of his work. So I am thrilled to report that the Cinémathèque
Francaise’s Kubrick exhibition left me inspired by and in awe of such a
dedicated, passionate and experimental filmmaker.

The Cinémathèque walks us through, room by room, a timeline of
Kubrick’s work. Starting with his earliest documentaries ‘Day of the
Fight’ and ‘Flying Padre’ through to his most famous films such as
‘Spartacus’, ‘A Clockwork Orange and ‘The Shining’, then leading us
through a corridor of his photography for ‘Look’ magazine (he started
age 16) and ending with detailed reports from films that never made it
into production: ‘Napoleon’ and ‘Aryan Papers’. The entire exhibition
covers two floors and is filled to the brim with information, photos,
props and accessories. It seems not a cm of floor space goes to waste.

What really gives life to this exhibit, and what raises it above your
run-of-the-mill iconic filmmaker retrospective is the attention to
detail for all aspects of his work and the sheer number of personal
items that convey Kubrick’s personality and immense passion for his
work. Annotated scripts, personal correspondence, set sketches, location
stills, production timelines and photos of the director on the set of
nearly all his films demonstrate the time and care that went into all of
his work and serve as historical evidence of the filmmaking process
from the 1950s onwards.

As for the films themselves, they are presented in imaginative ways
against brightly painted walls with detailed information of the shooting
process and audience reactions. The ‘Clockwork Orange’ room for example
(orange walls, of course) includes newspaper clippings of the original
‘Alex’ case, fan letters (one that reads ‘there wasn’t enough sex and
there was too much violence!’), the iconic female nude design furniture
and Phillip Castle posters. Further on in ‘The Shining’ section you can
see the original costumes as worn by the creepy murdered twins and a
secret black room showing the films bloodiest moments with the real
knife and axe from the set.

The technical side of the exhibition is equally informative and
proves what a technically accomplished filmmaker Kubrick was. Examples
include the ‘Eyemo’ camera (a 35mm camera used to film fight sequences
in The Killing), an explanation of front projection simulation (to shoot
the opening ape sequence in ‘2001: Space Odyssey’), and Carl Zeiss
lenses (for candlelit scenes with no artificial lighting in ‘Barry
Lyndon’). Technical drawings detailing special effects show innovation
and daring, non more exemplary than the ageing sequence from ‘2001:
Space Odyssey’, which for its time, was about as modern as you could
get.

Don’t miss this chance to get closer to one of the greatest
filmmakers of the last century. The exhibition runs until the 31st July
and I also recommend the audio commentary (narrated by Malcom McDowell
in English and Marisa Berenson in french) available for €3 which goes
into even greater detail as you walk around the exhibition. Finally the
Cinémathèque is also showing a retrospective of Kubrick’s films and
Kubrick-inspired films (including Gilliam’s ‘Brazil’, Spielberg’s ‘A.I’
and Pixar’s delightful ‘Wall-E’) until 2nd May.

-----------------------------------------------------------------------

De caméras et costumes aux cahiers et articles de presse, la saison
Stanley Kubrick à la Cinémathèque Française est une exposition
passionnante et informative pour tout le monde – aussi bien pour les
novices du cinéma que pour les adeptes dévoués.

Tout d’abord, je dois avouer que je ne suis pas une grande
spécialiste de Kubrick. J’ai vu ses films les plus importants (avec des
réactions mixtes) et j’ai lu des articles avec un intérêt éphémère, mais
il ne fait pas partie des réalisateurs sur lesquels j’ai fait des
recherches dans les catalogues des bibliothèques pour trouver les
premières éditions de ses oeuvres. Donc je suis excitée de vous dire que
l’exposition Stanley Kubrick à la Cinémathèque Française m’a beaucoup
inspirée et impressionnée par l’image de ce réalisateur si passionné,
enthousiaste et expérimental.

La Cinémathèque nous permet de faire, une pièce après l’autre, une
promenade à travers l’oeuvre de Kubrick. De ses premiers documentaires
‘Day of the Fight’ et ‘Flying Padre’ à ses films les plus connus comme
‘Spartacus’, ‘Orange mécanique’ et ‘The Shining’, puis par un couloir de
ses photographies pour le magazine “Look” (il a commencé quand il avait
16 ans), et enfin vers des renseignements détaillés sur ses films qui
n’ont jamais été produits: ‘Napoléon’ et ‘Aryan Papers’. L’exposition
entière occupe deux étages et est remplie à ras bord d’informations,
photos et accessoires. Il paraît qu’il n’y a aurait pas un seul
centimètre d’espace pas utilisé.

Ce qui donne vraiment de la vie à l’exposition et ce qui la fait
remarquée parmi les rétrospectives ordinaires des réalisateurs cultes
c’est l’attention aux détails de tout les aspects de son œuvre et le
nombre d’objets personnels qui évoquent la personnalité de Kubrick et sa
passion énorme pour son travail. Des scénarios avec ses notes, la
correspondance personnelle, ses esquisses des tournages et lieux de
tournages, les chronologies de production et les photos du réalisateur
pendant le tournage de presque tous ses films montrent la quantité de
temps et d’attention investie dans son œuvre et servent d’évidence
historique du processus de réalisation des films depuis les années
1950.

Quant aux films, ils sont présentés d’une manière pleine
d’imagination sur des murs aux couleurs vives avec des informations
détaillées sur le tournage et la réaction du public. La salle de
‘L’Orange mécanique’, par exemple (aux murs oranges, bien entendu),
comprend les articles de presse de la boite originale d’Alex, des
lettres des fans (y compris celle qui dit “il n’y avait pas suffisamment
de sexe et il y avait trop de violence!”), les fameux meubles en forme
de femme nue et des posters de Phillip Castle. Plus loin, dans la
section de ‘The Shining’ on peut voir les costumes originaux portés par
les affreux jumeaux assassinés et une salle secrète noire qui montre les
moments les plus sanglants du film avec le vrai couteau et la vraie
hache du tournage.

Le côté technique de l’exposition est aussi informatif et prouve le
talent de Kubrick en tant que technicien. Parmi les exemples sont la
caméra ‘Eyemo’ (une 35 mm utilisée pour le tournage des scènes de combat
pour ‘The Killing’), l’explication de la simulation de projection
frontale (utilisée pour la séquence avec le singe du début de ‘2001,
l’Odyssée de l’Espace’), et l’objectif Carl Zeiss (pour les scènes aux
chandelles sans aucune lumière artificielle dans ‘Barry Lyndon’). Les
esquisses techniques des effets spéciaux montrent l’innovation et
l’audace et sont aussi exemplaires que la séquence de vieillissement de
‘2001, l’Odyssée de l’Espace’ qui était la plus moderne possible à
l’époque.

Ne ratez pas cette chance de savoir plus sur l’un des réalisateurs
les plus importants du dernier siècle. L’exposition est ouverte
jusqu’au 31 juillet et je vous conseille aussi l’audioguide (avec les
voix de Marisa Berenson en français et de Malcolm McDowell en anglais)
disponible sur place (€3) qui vous donne encore plus d’informations
pendant votre parcours de l’exposition. Finalement, la Cinémathèque
projette aussi une rétrospective des films de Kubrick et de ceux
inspirés par son oeuvre (y compris ‘Brazil’ par Gilliam, ‘A.I.’ par
Spielberg et le merveilleux ‘Wall-E’ de Pixar) jusqu’au 2 mai.

 

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About ÉCU-The European Independent Film Festival

Hillier Scott
(ECU)

 

 

Scott Hillier, Founder and President of ÉCU - The European Independent Film Festival
 
Scott Hillier is a director, cinematographer, and screenwriter, based in Paris, France. In the last 20 years, Hillier has gained international recognition from his strong and incredible cinematography, editing, writing, producing and directing portfolio in both the television and film industries.  
 
Scott began his career in the television industry in Australia. In 1988, he moved to London getting a job with the BBC who then set him to Baghdad. This opportunity led him to 10 years of traveling around world for the BBC, mainly in war zones like Somalia, Bosnia, Tchetcheynia, Kashmir, and Lebanon. After a near fatal encounter with a Russian bomber in Tchechnyia, Hillier gave up his war coverage and began in a new direction. 
 

He moved to New York City in 1998.  He directed and photographed eight one-hour documentaries for National Geographic and The Discovery Channel. Based on his war knowledge and experience, Hillier wrote and directed a short film titled, “Behind the Eyes of War!" The film was awarded “Best Short Dramatic Film” at the New York Independent Film and TV Festival in 1999. From that he served as Supervising Producer and Director for the critically acclaimed CBS 42 part reality series, "The Bravest” in 2002 and wrote and directed a stage play called, "Deadman’s Mai l," which ran at Le Théâtre du Moulin de la Galette in Paris during the summer of 2004. He then became the Director of Photography on a documentary titled, “Twin Towers." This was yet another life changing experience for Hillier. The riveting documentary won an Academy Award for "Best Documentary Short Subject" in 2003. In 2004, Hillier changed continents again, spending three months in Ethiopia. He produced “Worlds Apart,” a pilot for ABC America / True Entertainment / Endemol. As you can see, Hillier was and is always in constant movement and enjoys working in a number of diverse creative areas including documentaries, music videos, commercials, feature and short films.

 
Scott studied film at New York University and The London Film and Television School. He also studied literary non-fiction writing at Columbia University. Hillier's regular clients include the BBC, Microsoft, ABC, PBS and National Geographic. Between filming assignments, he used to teach film, a Masters Degree course in Screenwriting at the Eicar International Film School in Paris, France and journalism at the Formation des Journalistes Français in Paris, France. 
 

 


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