TÉMOIGNAGE DE LA SEMAINE
I firstly met Isabelle at Crossroads Thessaloniki in 2014. Being a constant consultant for all the projects that are participating we met and discussed about my project of that time. You can at once understand her vast experience on scripts and development process, her generosity on giving targeted information and directions and her passion for cinema.
Then we met again in 2015, at MFI script workshop. We attended her lecture on development and after our meeting she undertook the script of the project “The River” by Haris Raftogiannis and Nikos Leros. Her reactivity with comments and notes was fast and very effective. Both the screenwriters adopted her input and proceeded in changes.
In November 2016 she offered us her consultancy script award, Crossroads again, for the project Fantasia by Alexis Kardaras. This time we worked more closely and I realized how important is her feedback and proposals. Initiative Film’s report was amazing concerning the analysis of the plot, the characters and the rhythm of the script. Isabelle caught perfectly the theme, the issues below the lines and the wants of the director. She raised questions that helped us a lot to improve the narration and the context of the script. It is a unique experience to work with Isabelle and her team. I think her as an angel who is always there and takes care keeping you on the right path.
Aujourd'hui, Isabelle est à Pékin pour parler Adaptation et développement dans le cadre de StoryDrive 2017, qui réunit des experts du monde entier pour partager leurs connaissances et partager des outils dans le domaine de l'audiovisuel et de la communication, notamment à travers une approche transmédia et crossmedia.
Plus d'informations sur le site de StoryDrive 2017, en cliquant sur l'image en tête d'article, et une interview d'Isabelle Fauvel pour Storydrive ci dessous :
8 Questions for Isabelle Fauvel
Dear Ms. Fauvel, what have you been busy with lately?
My company is primarily involved in the development of feature films. In addition to performing script analysis at all the different stages of the writing process, we are also engaged in international talents scouting. Right now, we are preparing for the Cannes Film Festival.
How is the European film market doing at the moment and what are the most interesting latest trends and developments?
In terms of production, the European market isn’t so bad but the equation becomes more complex when it comes to distribution. As regards our field of expertise, we’ve noticed an easier circulation of talents for the last 10 years. One of the trends is the genre author movies (like Julia Ducournau’s Raw) or animated features.
In 1993, you founded a consulting company called “Initiative Film”, dedicated to film development. What was the driving force behind this decision ? How should we understand the term “film development”?
As a producer, I have always sought creative dialogue with people who didn’t have an agenda regarding the projects I was producing, and I was surprised that this job didn’t really exist in France or in Europe. So I have made an attempt at creating a company that could be like a second office for producers, but also an interlocutor for directors related to the following activities : subject research, book scouting, script analysis, scriptwriters casting, training programs creation… « Film development: this term cannot be easily defined as it comprises talent / film / script development, and it should be understood as a process that precedes and accompanies the production of a film.
Initiative Film also helps filmmakers to find the perfect book to adapt. What are the main criteria of a perfect book for adaptation ?
There should be an intimate connection between a director’s style and the story, or the novel’s writing, a subject that echoes with something personal or intimate, and of course taking into account the irrational factor that creates an alchemy by putting the right book into the right hands…
What kind of a role do projects like "Shoot the Book!" play in this context of matching publishing material and filmmakers?
A double role. The first is familiarizing producers and directors who have never dealt with book adaptations. The second is highlighting books the potential of which has been acknowledged.
A mission of the StoryDrive event in Beijing is to explore possibilities in “storytelling and storyselling”. Does your daily work involve both aspects? Which part is more challenging ?
We work around “storytelling ” in our script analysis by trying to find the best way to match the script we’ve received and read to the writers’ and directors’ intentions, and help them reach that point. The “storyselling ” part of our job is in book and talents scouting, so it’s more about finding the right books, talents and projects for the producers who commission us to conduct a research than “selling ” them a story. But we try to present the books, talents and projects we scout for them in a way that will allow them to see what we saw in there for them. So they are both equally challenging in their own way.
Do you plan to have any new projects connected with China in the near future? Do you have a favorite Chinese author or filmmaker?
Of course there is a professional curiosity in establishing links with Chinese professionals, like we do with many other countries. Attending StoryDrive is a way of finding out the specific needs and expectations that can be in China. My favorite Chinese filmmakers are Diao Yinan, Jia Zhangke, and Zhang Yimou.
What expectation do you have towards your participation in the StoryDrive conference and your stay in Beijing?
Meeting local professionals, being able to share on the way we work and build bridges that could prove to be useful in the near future.
Isabelle Fauvel will be speaking at the Storydrive Conference in Beijing (31 May – 1 June 2017)
Pour s'inscrire à la séance de pitching Shoot the Book ! Cannes 2017 qui aura lieu le 23 ma prohain, il suffit de cliquer sur l'image ci dessous.
La veille des pitches, le 22 mai, l’Institut français et l’EAVE (European Audiovisual Entrepreneurs) organiseront deux Masterclasses: l'une sur le financement de l’adaptation et l'autre sur la coproduction internationale.
Cette année, pour la première fois Shoot the Book ! s’ouvre à l’édition internationale et accueillera dans sa sélection deux éditeurs allemands.
Les dix ouvrages sélectionnés sont :
- 33 jours de Léon Werth, aux éditions Viviane Hamy
- A woman in the polar night de Christiane Ritter, aux éditions Propylaen Verlag
- Apocalypse Bébé de Virginie Despentes, aux éditions Grasset Fasquelle
- Les Carnets de Cerise de Joris Chamblain and Aurélie Neyret, aux éditions Soleil
- Les Cobayes de Tonino Benacquista and Nicolas Barral, aux éditions Dargaud
- L’Eté des lucioles de Gilles Paris, aux éditions Heloise D’ormesson
- La Femme de Georges de Véronique Bizot, aux éditions Actes Sud
- Liverpool Street d’Anne C. Voorhoeve, aux éditions Ravensburger
- Le Seigneur des porcheries de Tristan Egolf, aux éditions Gallimard
- Stupor Mundi de Néjib, aux éditions Gallimard Jeunesse