These amazing movies made me want to be a director. At 17, I saw Spike Lee’s She’s Gotta Have It. When I was 12 years old, I saw Steven Spielberg movies. You recycle the ideas that inspired you to become an artist. It’s very difficult to create art from nothing, especially today. MK: The influence of the great Americans on me was the same that Jean-Luc Godard had on them. We needed to expose it so that people could understand it. I knew those kids because I used to hang out with them they have a voice, there is a reason why they’re like that, and there is a reason why the interaction with the police is like that. What happened to that kid from the start of the day for it to end up like that? I decided to show the story from the kids’ point of view because nobody knew the kids, especially back in 1995 – or ’93 as it was. But whether it was intentional or not, the cop got so mad that he got the gun out and it ended with him taking the kid’s life. He didn’t execute him, he tried to scare him, and then the gun went off. I began to think about how that cop could get a gun out and shoot a kid in the head while he was handcuffed. When I arrived, there were people, not protesting, more like mourning – it was the parents of the victim, of the kid. I went there because I used to hang out in that neighbourhood. I heard on the radio that a kid got shot by police in the 18th arrondissement. Mathieu Kassovitz: It was a riot in Paris. Or there is the constant return to a ticking clock, which helps to give the narrative a dramatically urgent rhythm and unremitting tension. Such moments of bravura invention occur throughout La Haine – as when director of photography Pierre Aïm uses an ultra-wide landscape ratio to film the three central characters in their banlieue surroundings, dwarfing them against their neighbourhood and making them seem insignificant, but switches to a long lens to shoot them in close-up once they move to the centre of Paris later in the film, denying the French capital its usual majesty. For while on the surface the story Kassovitz had written, about the last 24 hours three friends would spend together, might appear to be straight-up social realism, the way he chose to tell it often feels closer to a stylised magic realism, from the opening shot of the Earth from outer space onwards. Kassovitz, 27 at the time, won the Best Director prize, in recognition of the elements that made the work so explosively new and exciting. Publish movies and share on YouTube, Facebook, Vimeo, etc.When the film opened in Competition at the Cannes Film Festival in 1995, its impact was immediate.Share with friends, at home, and on the go Output High Definition QuickTime movie(.MOV) and.Support audio files with extension as.Support video files with extension as.Support popular media file format & mobile devices
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