The interview was conducted with Laudenbach, with support from Derosne. The idea seemed totally obvious. How did you assemble the film crew? Did you consciously try to work more with men or with women for this film?
He had gotten financing from the CNC and wanted the film to be completed by the end of So I approached Sylvain Derosne about joining the project, and rather than bringing him in as the animation director, I thought it would be fairer and certainly more interesting for him to co-direct.
Julien Signolet, the sculptor, is a friend from my neighborhood. I was thinking about the film when he mentioned collaborating on the bonds between wood sculpture and animation. So he became a part of the project very naturally. There was no particular intention to work with only men or women.
It was just chance. The music was the product of that chance. I met Juliette Armanet when the film was almost complete and we were wondering about the music for the leaf-dance sequence. There again it seemed obvious and natural that Juliette should do the music in collaboration with her associate Manuel Peskine.
The piece you hear in the films is a song from her first album, which is due out shortly, but we kept only the refrain. It seemed like it was written for the film. After our first meeting outside her workplace, we met two other times. There are about six hours of interviews. The questions were simple and followed the structure that is in the film itself.
