Juliette () - uniFrance Films Juliette () - uniFrance Films

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Patricia concludes Jacques rejected her because they come from different social classes. I believe that Jean is juliette pierre godeau online dating one who is particularly attracted to this idea of non-conformity.

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I liked the idea that Anna would use what she is learning in prison to put words on her feelings towards Jean. Indeed, Jean, just like a teenager, is completely submerged by this passion. After their second encounter Jacques, a French Air Force pilot, is unexpectedly reassigned.

She furthers herself thanks to the affair when she realizes that she does not want to feel guilty anymore. She has just turned 18 and is smitten with the handsome Jacques when he carries her across a stream to bring lunch to her father who is digging a well.

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What attracted you to the book? Because he cannot meet Patricia as planned the next morning, he leaves an explanatory letter for her but his overly protective mother burns the letter. What decisions did you make about directions with regard to visuals and also sound, which seems to have been worked on a lot?

How did you direct Using body language to flirt Exarchopolus and Guillaume Gallienne? He seems to have a complex about his role as a civil servant.

Prisons try to teach people to conform.

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The film tells the story of two people who were never supposed to meet. I am certain that this was what convinced Guillaume to accept the role.

Later, Patricia discovers that Jacques has left her with child. I liked that fact Guillaume was like a virgin in this type of role, as I wanted it to feel like a first time. My desire to tell this story stemmed from this need to understand how it could happen.

For example, he constantly tries to step outside the norms by making new improvements, and by thinking out of the box. It was the definition of a forbidden love story, taking place in a very cinematographic setting: Was this one of the reasons for choosing him, or for his accepting the role?

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He always says that he is an artist, and maybe he is living his love affair as his masterpiece. In order to feel the extraordinary aspect of this love story, it was crucial to be reminded of the crude reality of prison life. I first heard about the story on the radio, and I was immediately drawn to it.

Her father, who had idolized her, sends Patricia to live with his sister in another village to spare his four other daughters from learning of the illegitimate child.

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So as you can imagine they were very different to direct! We worked a lot on the lighting and the framing to create a feel of less and less in jail through the film.

Anna, on the contrary, wants to fit in and redeem herself. For instance, with Guillaume, it was all about precision and mastering rehearsals, whereas Adele does not get into character before the camera is rolling… My job was to make them feel comfortable, even if they were not using the same tools.

The parents of Jacques reject the idea that their son conceived a child out of wedlock and refuse to acknowledge the baby.

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This is very much a two-hander, a film dominated by two actors. Jean is the story of someone who puts himself on the line, and that is what Guillaume did when accepting to play opposite Adele, who is like a fish in water.

When they are together, Jean and Anna want to escape reality. In contrast, the sound had to remind us constantly that they are in prison. At the time, I had no knowledge of life in prison, and it seemed implausible for me that a director could have a love affair with an inmate.

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In this context, Jean and Anna are absolute non-conformists, right I suspect through to the end of the film…. We went multiple times in real jails to record the sounds, so that we could reconstitute in the most realistic way the mood that reigns in prison.

Eventually, Jacques, who was thought to have been shot down by the Germans, returns from a POW camp and learns he has a son. I could not have found a better fit than Adele and Guillaume. I therefore wanted to bring together two actors who are entirely different.

The film deals quite a lot in the opening scenes with social typecasting, the pressure to conform, in two scenes: He must leave immediately to replace a pilot who recently broke his leg.