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Das Kino kennt das Motel als Sinnbild für das Unterwegssein, als Station auf einem Weg, dessen Ziel zumeist mit Plänen und Hoffnungen für die Zukunft verbunden ist.
Das Motel, in dem Jean-François Caissy seinen Dokumentarfilm La belle visite gedreht hat, ist ein transitorischer Ort ganz anderer Art: Es beherbergt keine Reisenden mehr, sondern wurde in ein Altersheim umgewandelt. Das Leben seiner Bewohner steht nicht mehr im Zeichen des Aufbruchs. Caissys Tableaus sprechen in langen, ruhigen Einstellungen von der Langsamkeit und der Langeweile, von einem Zustand des Abwartens, von der fast rituellen Verrichtung alltäglicher Dinge, vom Vergehen der Jahreszeiten. [aus dem Forumprogramm]
INTERVIEW How would you describe the aesthetics of your film?
LA BELLE VISITE is a cinematic documentary in which time becomes one of the main character. I wanted to develop an aesthetics that could seize the time and the daily routine of life in a retirement home. In order to achieve that, sequence shots were used every time the shooting condition would allow it. We also used exactly the same camera angles to shoot different scenes happening in the same location. The changing seasons were shot following that rule.
Why did you choose to shoot on a digital format (was it solely for financial reasons, or did aesthetics play a role)?
We did choose a digital format over 35 mm for financial reasons, but during the pre-production, I was open to different possibilities. In fact, I wanted to play around with different types of cameras in order to define LA BELLE VISITE´s aesthetic. So, we tested different formats, from Super 8 to HD. We choose HD over the other “affordable options” because I wanted to shoot mainly using wide-angle lens, and HD was giving us enough details. We ended up doing a blow up in 35 mm later on.
Which format exactly did you choose (MiniDV, DVCAM, HDV, HD...), and why?
We decided to shoot on DVCPRO-HD, a good compromise between quality and cost. The format has also a nice “soft” feel into it, closer to film I would say.
What was special about shooting with Red (e.g. compared to 35-mm or
other digital formats)? Was it your first time with Red / digital or are
you used to it?
Of course, compared to MiniDV, shooting in a high definition format was a huge step ahead. For the first time, I felt that I could play with the medium with nearly no restrictions. I could make wide landscape shots, which often looks horrible on MiniDV.
What was your shoot-edit ratio?
At the beginning, the shooting ratio was around 4 to 1, which is pretty good in documentary filmmaking. The camera was new, and we had to be accepted by the people we filmed. By the end of the two years shooting, it became closer to 15 to 1. I guess that price dropping in the hard drive’s world had something to do with it.
One good word about DV / HDV / HD (or two):
The workflow. Being able to look at the rushs at the end of every day was a big plus. I was actually doing a pre-editing on my laptop on a daily basis, so we could see what was working from what we had shot. This workflow really had a huge impact on the film.
One bad word about DV / HDV / HD (or two):
The lack of exposure latitude.
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