Interview: Ugo Estublier
- thème School News
- date 08.06.2020
Today we talk to Ugo Estublier, 2nd year student at CinéCréatis: he tells us about his experience on set making his short film “In the manner of… Silence of the lambs”.
“In the Manner of…” is a classic exercise for every 2nd year student where they can apply their theoretical learnings from seminars to the realisation of a clip sticking as closely as possible to a reference film or tv series.
Ugo Estublier agreed to answer our questions on his experience of making his short film “In the manner of… Silence of the lambs”.
How was working in a team?
ITWO (editor’s note: In the way of) is our first project in “real” professional conditions: team of 30 heads, significant budget, set design…
It was very different from what we experienced during our 1st year and the beginning of the 2nd one, I was a bit apprehensive on the one hand, but I also was eager to try new things and see how such a large group can function on the other.
Overall, I was very pleased with the whole team, everyone did their job with professionalism from a personal point of view but also in accordance with the other heads of departments. This created a very good atmosphere within the team but also efficiency matching the numerous expectations from the project.
For my part the work with Quentin, assistant director, went extremely well, he kept his cool during the moments of tension, did not stress the team and was professional all along. For a project to go well, you need a great relationship between director and assistant-director, and it was the case here.
What were the main issues?
There were several issues in preparation, on set and post-production.
Fundraising was mostly for set design. The set required lot of money for the paint, the Plexiglas sheet, furniture but also accessories. Our budget shot up to €1000.
Make Hannibal’s cell credible was a real challenge because we had to use polystyrene to mimic stone walls, we had to create unity so the joints between the different panels was not visible.
We used primer between each panel. Creating a sound atmosphere akin to the inside of a prison cell was also an issue and required a hard work in mixing during post-production.
Calibration was also demanding to preserve the same colorimetry during the clip and obtain the same greyish atmosphere you have in Silence of the lambs.
Which were the great moments?
Excitement was there from the preparation phase because of all the challenges we were eager to take on.
On my part, there were several great moments on this project. First when we found our 2 actors – Elisa and Richard- then when I saw the potential I had to play with during rehearsals.
Finalising the set design was also a great relief/ joy because it was one of the main challenges and we got what we expected. The shoot was a great moment as everything was unfolding. The editing and looking through the rushes confirmed a good shoot. In short, great times with the team and actors.
Why this clip?
For many reasons. First because it’s a legendary clip, this first tensed encounter between Hannibal and Clarice was perfectly acted and Hopkin’s character unsettles you in a very subtle way.
I like big challenges and this clip offered many: the acting and the set mainly.
This clip was also a change for everyone to enjoy themselves: from the equipment perspective you had to use a Dolly (a wheeled cart) and a crane.
Same with the frame with several panoramic moves, the light needed constant tweaking, the set needed to be the same as the original cell and on my part, directing the actors to get the great subtility of Hannibal’s acting, the professionalism Clarice is struggling to preserve but also the eye contact between the two actors to create the tension and this unsettling feeling.
In conclusion: I think everyone loved their job and everybody is very proud. It is a beautiful project, and I am very happy with the team!
The crew had about 30 people including:
- Quentin Chevreau (Assistant director),
- Liza Bougeant (Production manager),
- Néven Abollivier (Location manager),
- Florian Blondelot (Director of photography),
- Pauline Bernard (Lighting technician),
- Louise Rabiller (Camerawoman),
- Gabriel Deschamps (Key grip),
- Sean Rocherie (Production designer),
- Mathis Jauzelon (Film editor)