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DP A L'INTERIEUR.indd 1 9/05/07 15:12:56

a f i l m b y J U l i E N m a U R y & a l E X a N D R E b U S T i l l Ow R i T T E N b y a l E X a N D R E b U S T i l l O

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INSIDE is the culmination of a desire to produce a genuine genre film in France.A truly realistic, radical thriller bordering on horror, INSIDE is the first feature film produced by Vérane Frédiani and Franck Ribière’s La Fabrique de Films.‘‘We’ve always loved genre movies. Even before we became distributors, we were constantly on the lookout for new talent in this field.’’ Vérane Frédiani says. ‘‘Genre movies are highly creative and entertaining, they’re self-consciously clever and they play with cinematic conventions to unnerve the audience. Genre movies are often very good films which stand the test of time and help discover great filmmakers. Peter Jackson, James Cameron and Sam Raimi, started out making genre flicks. We wanted to get involved more actively in this endeavour, but as producers this time round. Especially as there are very few French genre movies. All we had to do was find the right project.’’As a distributor, La Fabrique de Films has released in France Alex de la Iglesia’s Ferpect Crime, Neil Marshall’s The Descent and more recently Christopher Smith’s Severance and Michael J. Bassett’s Wilderness.

A former Mad Movies film critic, Alexandre Bustillo came up with the original storyline. ‘‘One of my friends was pregnant when I came up with the idea of INSIDE. She lived in a small house in a suburban area. So I tried to figure out what could happen if she was alone one night and a killer dropped by to visit her. It seemed to me that a woman who desperately wants a child was more convincing – and therefore scarier – than your average psycho killer. So

I immediately set out to write a first draft of the script, and the more I moved forward, the more I unexpectedly realized that the idea was genuinely frightening and echoed stories you read in the papers.’’

Alexandre Bustillo stresses that he wanted to deal with female characters: ‘‘Horror movies with all-female casts work out rather well. Take The Descent for instance – which is a film that goes beyond horror and addresses motherhood. If you substitute female characters for male characters, you end up with The Cave, a totally pointless movie.’’

Although INSIDE’s approach is straightforward and even blunt, the film’s look is that of a modern fairy tale. Bustillo adds: ‘‘A three-act story, INSIDE somehow calls to mind urban legends you tell your friends around a campfire at night. The first act is deeply rooted in reality – you gradually grow familiar with Sarah’s devastated life (her husband has just passed away) until the Woman turns up and attacks her. With the second act, your perspective on the characters and your viewpoint get blurred – once the power is cut off, everything goes dark and all you can see are the ghost-like figures of the main characters. With the third act, the Woman’s madness reaches its climax, and her determination and her rage take over her human nature, and so she turns into a monster in the classic, tragic sense of the word.’’

Once the script was completed, Alexandre Bustillo set out to find producers. La Fabrique de Films’ producers quickly agreed to embark

Sarah, a young photographer, is by herself on Christmas eve. She’s been alone since her husband died tragically in a car accident. Today is the last day she has to spend at home before going to hospital to induce labour. The calm is interrupted by a knock on the door. Confronted by a mysterious woman, Sarah is immediately suspicious, and refuses to let her in. However, she will not leave. Sarah suddenly feels afraid and calls the police. In the gloom outside, the woman watches her through the picture windows. Yet, when the police show up, she’s gone. With riots raging in the neighbouring suburb, the distracted policemen comfort her and leave. Sarah locks herself away in her house, unaware that the woman is now inside. As Sarah feels her first contractions, she does all she can to fight back this madwoman hellbent on taking one thing...


‘‘Our starting point was a situation that could happen to anyone. When you’re home alone, you’re always afraid someone may sneak in to harm you’’, Vérane Frédiani says. ‘‘In the context of the film, both women’s motives are perfectly understandable, and therefore acceptable. They engage in a ruthless clash because a child is at stake. That’s what we liked about the storyline. We had no use for your average torture flick. We simply weren’t interested. We don’t intend to produce thrillers or horror movies just to freak people out. We first and foremost care about stories that affect our emotions.’’ Dalle agrees: ‘‘I don’t think INSIDE is an extremely violent movie. There’s no more violence than needed in the story. The film never indulges in violence for the sake of it. Plus you see stuff so much worse in the papers or on TV everyday…’’

on the project because what they liked about the story was the primarily psychological terror and the profoundly visceral, human scare factor which will no doubt draw gut reactions from the audience.‘‘The script is shrewd and inventive, and it is very different from anything that has been done so far in France’’, Franck Ribière says. ‘‘A couple of things particularly caught our attention. First, the all-female storyline and the primal fright factor, which actually goes way beyond the average horror flick and deals with motherhood. And then Alexandre’s personality and drive – he’s a genre movie expert. We’ve been thinking for a while now that we should turn to the fans, to the people who are really familiar with these films and know the genre inside out’ ’.


As Alexandre Bustillo was writing the script, he looked for a director to bring his project to the screen. He found Julien Maury who’d made a name for himself with his short film Pizza Hunt which earned several awards in a number of festivals. ‘‘When I watched Pizza Hunt, I was impressed by what he achieved with a limited budget. His camera work made an impact. Julien was an obvious choice to direct INSIDE. I originally was supposed to only write the script. We eventually decided to co direct the movie and unite our strengths.’’

Their collaborative effort was based on their mutual passion and knowledge. When you ask them about their influences, they readily quote slasher films, including Halloween for the treatment of violence in a gritty urban environment, The Ordeal’s spare beauty, Malefique’s sharp sense of confinement, and more generally the giallo genre (for Béatrice Dalle’s character), both for its look and its operatic intensity, and the 1970s supernatural, taut thrillers like Polanski’s The Tenant.

Once they decided to co-direct the film together, they wrapped up a final rewrite of INSIDE ‘‘We focused on the film’s development, the chain of events, the dialogue, the narrative. The producers never tried to interfere with the film’s actual content. They’ve always accepted the extreme violence of the material. They mostly helped us flesh out the script and the characters, and add supporting characters,

while the emphasis was originally on the two leading ladies.’’When the script was completed, Alexandre Bustillo and Julien Maury moved on with preproduction work. It took them over 10 weeks to gather the crew, find the best locations and draw up the storyboard. ‘‘It’s a rather long period, but it’s crucial for a film like this’’ Julien Maury says. ‘‘We were determined to storyboard the whole movie. We were fortunate to find a house which looked a lot like the one we had in mind. The storyboard didn’t change much once we found the proper location. We also spent a lot of time with FX Cinéma’s Jacques Olivier Molon and BR Films’ Rodolphe Guglielmi working on the wounds and the characters’ physical deterioration. We had to choose, at this stage, which effects ‘should be live’ and which digital effects were to be added during post production. Their expertise coupled with their overactive imagination and their dedication were extremely helpful. We all wanted the effects to live up to the narrative. So we spent a lot of time on pre-production for our first feature film. Once we were on set, we’d no longer have time to hesitate.’’



INSIDE revolves around three female characters: the Woman, Sarah and the child she’s expecting, who’s also a girl. ‘‘We have great technicians in France, so we had no concern in this area. Our main concern was to find the right actresses – very unique people who could play Sarah and the Woman to the hilt,’’ Vérane Frédiani and Franck Ribière remember. ‘‘These are highly physical, exhausting roles. We therefore needed actresses with real strength of character and stamina, which wasn’t that easy.’’ The producers and the filmmakers cast Alysson Paradis for the role of Sarah and Béatrice Dalle – who’d already appeared in a genre film: Claire Denis’ Trouble Every Day – for the Woman.’’We made things really clear to them very early on. We didn’t hide anything from them. The filmmakers were also very honest about their intentions. Violence for the sake of violence was beside the point. The filmmakers wanted to place the emphasis on the narrative. Both actresses loved the script and the filmmakers, and kept their spirits high about the whole thing. Now the funny thing is, a few French actresses that we got in touch with were appalled by the script!’’Once the actresses were cast, they had to train physically prior to shooting under the guidance of stunt coordinator Emmanuel Lanzi (who also plays a policeman) for the many fighting scenes.

For both filmmakers, Alysson Paradis was a natural choice for Sarah from the moment they met her. ‘‘We instantly felt she was a natural,’’ Julien Maury says. ‘‘After our first meeting, we had no doubt about it. We went to great lengths to tell her that it was going to be a difficult, horrendous shoot, that the film had a number of special effects and that she’d have to wear prosthetics throughout the shoot. But nothing put her off. Instead, it inspired her even more.’’ Alysson Paradis who plays her first starring role in INSIDE adds: ‘‘A journalist friend of mine put me up to it, and I’m really grateful to him. During the Valenciennes Film Festival, I happened to tell him that I loved thrillers and horror movies, and he told me about INSIDE, a film project being developed, and he put me in touch with the producers. When I read the script, I was in awe but I loved it. Then I met Alexandre Bustillo and Julien Maury and they finally convinced me.’’ Alysson Paradis plays Sarah, a young pregnant photojournalist, still shaken up by her husband’s accidental death. ‘‘She’s extremely emotional. She’s a young woman who has to go beyond herself to survive and save the child she’s carrying. We talked about the character a lot with Alexandre and Julien, before the shoot. It was key to getting a better understanding of Sarah. It was a pretty tough role where I had to bare my emotions. But Alexandre and Julien were


always supportive of me, and they helped me put things in perspective. I really wanted to spare no effort, and most of all I didn’t want to let them down. We had a great relationship – there are traces of femininity about them which makes it possible for women to relate closely to the movie.’’

Dalle and Paradis are joined by Nicolas Duvauchelle, Nathalie Roussel, François-Régis Marchasson, Ludovic Berthillot, Aymen Saïdi and Emmanuel Lanzi.

Nathalie Roussel plays Sarah’s mother Louise. The filmmakers explain why they cast her: ‘‘She’s stood for the ultimate mother figure since she was seen in My Father’s Glory and My Mother’s Castle. Everyone our age remembers her,’’ Bustillo says. ‘‘That’s why we thought it’d be gruesome to savagely murder this perfect mother, but then again we kind of felt like paying tribute to her (laughter).’’

After being won over by the two young filmmakers, the charismatic Béatrice Dalle gave a mind-boggling performance as the Woman. ‘‘In my eyes human relationships have always been much more significant than the scripts I get sent,’’ Dalle explains. ‘‘I tend to go by instinct. This is what I’ve always done so far and it’s turned out well for me. When I met Alexandre and Julien, I was immediately under the impression that we’d get along just fine and that the film would be an experience. They immediately inspired me to go all the way with them, whatever the storyline they came up with. Had it been Sesame Street, I’d also have said yes! I’ve shot many first features, and I don’t regret doing any of them.’’ Alexandre Bustillo and Julien Maury remember when they first met her: ‘‘She was incredibly unassuming, and she even told us that we impressed her. This was all the more ironic as we personally had butterflies in our stomachs from the moment we met her! We weren’t even sure she’d say yes.’’ says Julien Maury. The Woman is a mysterious, dangerous character who sneaks into Sarah’s place to steal her baby. Béatrice Dalle adds: ‘‘Personally, I don’t see my character as fundamentally unworthy. I see her instead as a woman who’s gone through a lot and probably lost her mind because of a lack of love. She doesn’t really mean Sarah any harm. All she wants is her child. As you’ll see, they’re sometimes actually pretty tender with each other. The truth is, a love/hate relationship develops between the two characters.’’ The Woman


Sarah

Trained at the Laboratoire de l’Acteur under the guidance of Hélène Zidi-Cheruy from 2001 to 2003, Alysson Paradis is emerging as one of France’s bright young talents. Since 2002 she has been seen in six shorts and two medium-length films. On television, she appeared in Dominique Ladoge’s Maldonne, an episode of Le Grand Patron series, and the TV movie Le Cocon directed by Pascale Dalet. She made her debut for the big screen in 2004, in Rodolphe Marconi’s The Last Day, alongside Nicole Garica, Gaspard Ulliel and Bruno Todeschini. She followed it up with Crystal Amsalem’s romantic comedy Quand les anges s’en mêlent and Franck Llopis’ comedy drama Fracassés. She landed her first starring role in Julien Maury and Alexandre Bustillo’s INSIDE, her fourth feature film to date.

The Woman

Béatrice Dalle made her acting debut while posing for a ‘‘lolita’’ series photo shoot for Photo magazine. She was immediately spotted by agent Dominique Besnehard who was looking for an ingénue to play opposite Jean-Hugues Anglade in Jean-Jacques Beineix’s Betty Blue. With the role of the impulsive, vulnerable Betty, Dalle made her international breakthrough and earned a Best Actress César (French Academy Award) nomination. She was then seen in films where she got cast for her good looks, including Marco Bellocchio’s The Sabbath and Jacques Deray’s Dark Woods. But it was with Jacques Doillon’s A Woman’s Revenge – a film director she’s particularly fond of – or Claude Lelouch’s The Beautiful Story that she had the opportunity to really showcase her acting talent. She then became an international star, and split her time between France and the US where she appeared in indie films including Jim Jarmusch’s Night On Earth and Abel Ferrara’s The Blackout. She also travelled to Japan to play in Suwa Nobuhiro’s H-Story, an experimental remake of Alain Resnais’ Hiroshima Mon Amour. Back in France, she starred in Maroun Bagdadi’s The Girl in the Air, based on Nadine Vaujour’s true story, and Diane Kurys’ Six Days Six Nights. But she gradually went for indie films, including Yolande Zaubermann’s Clubbed to Death, Philomène Esposito’s Toni, Christophe Honoré’s Seventeen Times Cecile Cassard, Michael Haneke’s Time

of the Wolf and Olivier Assayas’ Clean. She collaborated three times with Claire Denis, on I Can’t Sleep, Trouble Every Day and The Intruder. She was recently seen in Denis Thybaud’s In Your Dreams and in the Frédéric Schoendoerffer thriller Crime Insiders. With Julien Maury and Alexandre Bustillo’s INSIDE, Dalle could easily be a new horror icon.

SELECTED FILMOGRAPHY

2007 INSIDE (A L’INTERIEUR) by Alexandre Bustillo, Julien Maury2005 FRACASSES by Franck Llopis2004 QUAND LES ANGES S’EN MÊLENT … by Crystel Amsalem2004 THE LAST DAY (LE DERNIER JOUR) by Rodolphe Marconi

SELECTED FILMOGRAPHY

2007 INSIDE (A L’INTERIEUR) by Alexandre Bustillo, Julien Maury2006 CRIME INSIDERS (TRUANDS) by Frédéric Schoendoerffer2005 IN YOUR DREAMS (DANS TES REVES) by Denis Thybaud2003 CLEAN by Olivier Assayas2003 THE INTRUDER (L’INTRUS) by Claire Denis2002 TIME OF THE WOLF (LE TEMPS DES LOU PS) Michael Haneke2001 SEVENTEEN TIMES CECILE CASSARD (DIX SEPT FOIS CECILE CASSARD ) by Christophe Honoré2000 TROUBLE EVERY DAY by Claire Denis2000 H-STORY by Suwa Nobuhiro1997 THE BLACKOUT by Abel Ferrara1995 CLUBBED TO DEATH by Yolande Zaubermann1994 I CAN’T SLEEP (J’AI PAS SOMMEIL) by Claire Denis1994 SIX DAYS SIX NIGHTS (A LA FOLIE) by Diane Kurys1992 THE GIRL IN THE AIR (LA FILLE DE L’AIR) by Maroun Bagdadi1991 NIGHT ON EARTH by Jim Jarmush1990 THE BEAUTIFUL STORY by Claude Lelouch1989 A WOMAN’S REVENGE (LA VENGEANCE D’UNE FEMME) by Jacques Doillon1988 CHIMERES by Claire Devers1988 DARK WOODS (LES BOIS NOIRS) by Jacques Deray1987 THE SABBATH (LA SORCIERE) by Marco Bellochio1985 BETTY BLUE (37°2 LE MATIN) by Jean-Jacques Beinex


Screenwriter and Co-Director

Born in 1975, Alexandre Bustillo was passionate in film from a very early age. He was fascinated by movies such as Jaws, Halloween, The Innocents and held a great admiration for the works of Italian director Dario Argento.

After completing a Masters Degree in cinema and audiovisual, he worked for some time as a projectionist before becoming a journalist for French magazine Mad Movies, the cinema reference for genre fans. INSIDE is his first feature as screenwriter and director.

Co-Director

Julien Maury graduated in ‘‘Cinema Direction’’ from the ESRA (Ecole Supérieure de Réalisation Audiovisuelle). His first job was as a cameraman working mainly in TV and directing a few “behind the scenes” documentries on TV series and music videos.

He financed and directed his first short movies: Pedro, Shark Attack and Pizza Hunt, which went on to be selected in nine French film festivals and given six awards including that of Best Director.

Sharing the same passion for genre movies, his professional association with Alexandre Bustillo was an obvious choice and at just 28, Julien Maury co-directs INSIDE with him.

Special Makeup Effects artist

A special effects enthusiast since he saw Star Wars when he was a kid, Jacques-Olivier Molon learned his trade reading specialized magazines and watching documentaries. A genuine self-taught man, he can provide a wide range of special effects, from simple prosthetics to animatronics. He’s worked in the special effects industry since the early 90s and has honed his skills collaborating with some of Hollywood’s finest make-up artists, including Stan Winston or XFX Studio, on films like Jurassic Park 2, Blade 2, Interview with A Vampire, Congo, Pet Sematary 2, The Island of Dr Moreau and Innocent Blood. In France, as well as working on videos, commercials and plays, he collaborated on the features Vidocq, Brocéliande and Jean-Pierre Jeunet’s Amélie. For his own company FX Cinéma, he worked on Philip Kaufman’s Henry and June, Wim Wenders’ Beyond the Clouds, Frédéric Schoendoerffer’s Crime Scenes, Julien Magnat’s Bloody Malory and Harry Cleven’s Trouble.

Editor

Stéphane Freess (aka Baxter) started editing in 1998 with the short film Stres’ by Didier Delaitre going on to edit two feature films, Comme Une Bete by Patrick Schulmann and Entre Chiens Et Loups by Alexandre Arcady.Whilst working on this film he became friends with Alexandre Aja who gave him the job as Editor on Haute Tension and his remake of La Colline a des Yeux. In between these two projects, Baxter also edited Alexandre Arcady’s Mariage Mixte. INSIDE followed. BAXTER is now in America working on a new project Mirrors.


Producer

La Fabrique de Films created in 2003 by Vé-rane Frédiani and Franck Ribière, is a French feature film/DVD distribution and production company, dealing mainly in English speaking titles.

Over the last few years LFF has distributed a wide range of genre films ranging from 800 Bullets and Ferpect Crime by Alex de la Iglesia, the thriller Imagining Argentina by Christopher Hampton, the youth culture do-cumentary Rize by David La Chapelle, the comedy Adorable Julia by Istvan Szabo and the urban drama Girls In America by Michael Skolnik.

Since LFF’s great succes with Neil Marshall’s The Descent, Tobe Hooper’s Mortuary and Christopher Smith’s Severance, the company is now also a reference in the horror film genre.

Recently LFF has distributed the Korean epic Duelist by Lee Myung-Se, Paris Je T’aime co-produced by 21 international directors and Richard Linklater’s Fast Food Nation.

Year after year their production and distri-bution line-ups have reflected their commit-ment to international, young talent alongside established names.

INSIDE is the first 100% La Fabrique de Films production.

Co-producer

BR FILMS started out as a technical lab, spe-cialising in SFX and post-production. They are well known for their work on more than 70 commercials, 50 French music videos and several major television series.

In 2006, BR FILMS started to invest in feature film co-production taking part in not only the financing side of things but also continuing with their SFX in-put.

Their first two productions are Frontières by Xavier Gens and Julien Maury and Alexandre Bustillo’s INSIDE.

Director of photography

Born in Saint-Gaudens, in Haute-Garonne, in 1964, Laurent Barès first studied sociology and history before he earned a cinematography degree from the Louis-Lumière Film School in 1988. He started out as an assistant camera operator on Bertrand Arthuis’ Tom and Lola, Gérard Corbiau’s The Year of Awakening, Régis Wargnier’s Indochina and Roman Polanski’s Death and the Maiden. He then worked as a cinematographer on many commercials, music videos for the French rock-band Noir Désir, and several shorts, before he served as DP on his first feature film, Lucas Belvaux’s 1996 Pour Rire! He followed it up with the TV movie Nini directed by Myriam Touzé, Didier Bivel’s We Need a Vacation, and collaborated with Gérard Mordillat on three films, including Paddy, L’ile atlantique and Simon le Juste. He recently worked on Xavier Gens’ Frontières and Julien Maury and Alexandre Bustillo’s INSIDE.

Production Filmography 2007 INSIDE by Julien Maury & Alexandre Bustillo

Co-production Filmography 2007 UNE AFFAIRE FAMILLE by Claus Drexler2007 THE OXFORD MURDERS by Alex de la Iglesia2006 CHACUN SA NUIT by Pascal Arnold & Jean-Marc Barr2005 THE FERPECT CRIME by Alex de la Iglesia


CASTThe Woman BÉATRICE DALLE Sarah ALYSSON PARADISLouise NATHALIE ROUSSELJean-Pierre FRANÇOIS-RÉGIS MARCHASSON Matthieu JEAN-BAPTISTE TABOURIN Nurse DOMINIQUE FROTDoctor CLAUDE LULÉPolicewoman HYAM ZAYTOUNPoliceman # 1 TAHAR RAHIMPoliceman # 2 EMMANUEL GUEZCrime investigator # 1 LUDOVIC BERTHILLOTCrime investigator # 2 EMMANUEL LANZICrime investigator # 3 NICOLAS DUVAUCHELLEAbdel AYMEN SAÏDI

CREWDirected by Julien Maury and Alexandre BustilloProducers Vérane Frédiani Franck RibièreCo-produced by BR FilmsCostume Designer Martine RapinProduction Designer Marc ThiebaultSound Jacques Sans1st Assistant Director Léonard GuillainLine Producer Jean-François ChaintronSpecial Effects Jacques-Olivier MolonVisual Effects BR Films / Rodolphe GugliemiEditor BaxterDirector of the Photography Laurent BarèsComposer François-Eudes Chanfrault

A La Fabrique de Films productionAssociate co-producer BR Films

With the participation of CANAL+, CINÉCINÉMAIn association with COFINOVA 3, SOFICINÉMA 3, UNI ÉTOILE 4 With the support of the Centre National de la Cinématographie

The Directors would like to thankJanine VARESANO, Alain BUSTILLO, Nathalie RENNETEAU, Vanessa, Salomé, Sara, Jean-Michel, Jacques et Patricia MAURY, Olivier, François, Ophélie, our families and loved ones for all their unconditional support. David DOUKHAN, Damien GRANGER, Fausto FASULO, Mad Movies, la Promizoulteam Grand Hôtel Club, Raphaël GESQUA, Ludovic d’HERMY, Frédéric COLLOMB, Audrey THIVILLON, Aurélie CHARBONNIER, Sébastien MILHOU, Manuel GARCIA POU, Frédéric FAUST, Lionel AMANT- Film Talents, Vérane FRÉDIANI & Franck RIBIÈRE - La Fabrique de Films (Priscilla, Charlotte, Vincent, Stéphanie, Mathilde, Laurent, Camille), Catherine RIP BUSTILLO, Stéphane For Ever FRESS, Alexandre AJA, Grégory LEVASSEUR, Fabrice Du WELZ, Benoit DEBBIE, Guillaume SCHIFFMAN, Lokman RIP NALCAKAN, Eric VALETTE, Kim CHAPIRON, Leila BEKHTI, Roman POLANSKI, Patrick BOUCHITEY, Joel SANTONI, Claude MILLER, Claude CHABROL, Gaspard NOE, Yves BOISSET, Serge LEROY, Jean-François TARNOWSKI, Jean NARBONI, Cédric JAN, Buzz, Big,

Amélie, Lola, Olive, Laurent FENOGIALLO, Rurik JETOUCOMPRI, Antoine LE MASTARD, Monsieur PROMIZOULIN. And all those who moved their asses to make this film exist! Hold the line !

La Fabrique de Films BIG UP toDidier ALLOUCH, Lionel AMANT, Benvinda AMORIN, Manuel ALDUY, Vivien ASLANIAN, Thomas AUGSBERGER, Violaine BARBAROUX, Anne BATAILLE, Dominique BESNEHARD, Delphyne BESSE, Bernard BO-RACH, Jean-Armand BOUGRELLE, Catherine BOZARGAN, Remi BURAH, Nathalie COSTE-CERDAN, Stéphane CORDIER, Michael COWAN, Alexis DANTEC, Tristan Du LAZ, Myriam ESNOUF, Xavier FERNANDEZ, Brice FOURNIER, Evi FULLENBACH, Mélanie GAUTIER, Damien GRANGER, Léo HAIDAR, Marc HELWIG, Karina KORENBLUM, LA FERME, Grégoire LASSALLE, Chantal LAUBY, Jean Pierre LAVOIGNAT, Pierre LESCURE, Dominique MALLET, Sophie MINET, Claudie OSSARD, Hengameh PANAHI, Eric PASTOL et ATOMIKA, Jason PIETTE, Jean REB et le CERCLE NOIR, Michel REBICHON, Mehdi SABBAR, Laurent SAVRY,

SENSITIVE FILMS, Gordon SPRAGG, Bruno THIBAUDEAU, THE WEINSTEIN COMPANY- Maeva GATINEAU, Laurent VALLET, Marco WEBER.

And a big thanks to Thierry CHEZE, Sandra RUDICH-VIRON & Sam RAIMI (he will never know why)

La Fabrique de Films also thankGROUPE QUINTA - Pierre BOUSTOULLER, Gérard DASSONVILLE, Olivier DUVAL, Olivier CHIAVASSA, Stéphane MARTINIE, Dominique BOUSSAGOL, Jean-Robert GIBARD, Varujan GUMUSEL Jean-Robert GIBARD, Mathias FORGET, Amel MAHOUAST, Stéphane MARTINIE, GIAT Industries – Philippe CHAMBON ; La Mairie de Noisy le Roi ; La Mairie de Plaisir ; ASLDG ; Les habitants du Domaine des Gâtines ; Centre Médico-chirurgical de l’Europe ; Maison La Prairie ; Clarins ; Nice Work ; Dr Paul BUSSIERE ; Central Color – Thomas CONSANI ; Film Media Consultant: Canon, Motorola, Dorel France. POST-MODERNE :

Samy CHANDIRAMANI & Franck MONTAGNÉPhotos : Marie Blin


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