Interview to director Lucía Alemany:
"One of the requirements that I wanted from Lis was that she have big tits," she tells us about the main character. "Because there is something there, in that «two days ago I was a girl, and right now I have something that is sexually super attractive»". It was also important for the director to show the girls in their underwear: "It is really very common when you are getting ready to go out, at your house with your friends, you go with those underwear. But I did not want it to have a sexualized look, because you are seeing a girl. But at the same time they are sexual objects."
|Révolution Ecole: 1918 1939
Annotation to movie in 3 languages.
Ce film est entierement compose de photographies et films d’archives. Certaines de ces images, publiques ä l’epoque, representent des adultes et des enfants nus et peuvent heurter la sensibilite des spectateurs d’aujourd’hui.
Nous avons choisi de les montrer car ce sont des documents historiques qui participent ä la peinture la plus exacte possible des experiences educatives des annees 1920 et 1930, seule periode ä laquelle le film s’attache.
Der Film besteht zu einhundert Prozent aus Archivmaterial. Einige der damals veröffentlichten Bilder zeigen nackte Kinder und Erwachsene, die Zuschauer der heutigen Zeit als schockierend empfinden könnten.
Wir haben uns entschieden, diese Bilder dennoch zu zeigen, da es sich um historische Dokumente handelt. Sie dienen dazu, die Erziehungsmaßnahmen in den 1920er und 1930er Jahren - dem einzigen Zeitraum, über den im Film gesprochen wird - wahrheitsgetreu wiederzugeben.
The film consists of one hundred percent archive material. Some of the images published at the time show naked children and adults that today's viewers might find shocking.
We decided to show these pictures anyway, as they are historical documents. They are used to truthfully reproduce the educational measures in the 1920s and 1930s - the only period spoken about in the film.
|Il ragazzo invisibile
Is there any scene from the film that you liked the most?
"The funniest scene, in my opinion, is that of the girls' locker room, in this scene we all had a bit of fun."
On the screen we see you naked, but isn't it?
"No, I was practically always in my underwear, and then they made me naked by computer."
Koh Jia Ler, the first-time child actor in the award-winning local film Ilo Ilo, was caned for real several times in two takes while shooting a scene.
It is a literal example of how director Anthony Chen cracks the whip to achieve his vision.
Says Jia Ler, 12, whose mother was fine with the caning since she used to cane him when he was younger: "Anthony talked to me about it and I was fine with it. It was painful, but it's okay, because I know he wants everything as real as possible. The caning is just a small thing to me.
|Un amour de jeunesse
You chose Lola Créton as the actress to represent yourself. Tell me about her – this film could make the next French star.
She was 16 when we began shooting, and I wanted to do something unusual. I'm always annoyed when films have actresses who are 27 playing teenagers. It always breaks the spell for me. So I wanted a real teenager here, even though this film does then span another 10 years. I thought it'd be a nice change to see someone playing older, even if they did look a bit young in the later stages. But Lola is so delicate and shy.
Like all French actresses, she seems very happy to get her clothes off.
Aha. You English always love that. I can say that for her it was actually a big deal. But what's amazing is that, when the cameras rolled, she was free and sensuous like a cat. It was as if she was discovering her own sexuality before our eyes, but, as soon as the filming stopped, she'd retreat behind sheets, clothes immediately.
She has a little craziness about her, like a young Adjani, but she's so shy with press, with me, with her mum. She's not at ease with words. I think she truly can only express herself through acting. It's her vocation.
It should be noted that with her chief operator, the director opted for long shots so as not to frustrate children in their game: few shots, but very long. The camera object had to be forgotten, the director was always at their side, spoke to them during the catch, entered the frame.
The scene, so delicate, of the nakedness of Laure and the revelation resulting from it, has been conscientiously put in place by Céline Sciamma. This scene is fundamental and Zoé Héran, from the script, knew he would have to turn naked. Her parents were present at the time of filming and this intense moment could only exist in the image if they gave their Agreement in view of the filmed sequence.
Abbey Hoes thinks afterwards that she could not have done some nude scenes she had done in the past. "I've been on mokkels.nl since I was fourteen because of my role in the film Tirza."
The 21-year-old actress talks with Grazia that there are people who think that "it should be" when you are an actress. "But I do not think that being a dirty porn site is part of the job, if I wanted to, I would have become a porn actress."
"I do not act so that a boy can rely on me," says Hoes.
Cover often finds it unnecessary that a woman is completely naked in sex scenes. "I only agree with nude if it is artificially justifiable, but in the past I have done nude scenes that I now think: I should not have done that better."
|My Queen Karo
How did you come to find such a perfect actress (Anna Franziska Jaeger) to play Karo, who really is the centre of the film?
Dorothée Van Den Berghe : It's a long story! I saw her in a shop and I knew it was her, she was exactly what I wanted. I really followed this girl, and (kept tabs on her). The film took two years to put together, and by that time, she was too old for the part as I had written. She had breasts already, and the part I had written was definitely for a child who was younger than that. So.. I held auditions and auditions, but I never found that quality, what I found in her. I rewrote the script, then, and we had to rethink how to shoot the nudity, for example, because of her breasts. But I think it puts the film into a better perspective, a child that age.
Aleksandr Siguev, interviewed about the bathhouse scene:
-In the movie "Ostorozhno, deti!" you were in the scene in the bathhouse, where you and Vsevolod Nikolaev had to walk naked on the set-scene - from morning till night. Furthermore, the film crew is such a small crowd of different people, and all this is filmed on a movie camera.
Were not you ashamed to walk naked? Or on the contrary - you were very happy and "cool" (funny) to stay in such an unusual situation?
-I did my job. As soon as we emerged, we were immediately wrapped in towels. We have no time to realize if we're having "fun"! 5 night shifts in a row is not a joke, believe me!
Interview with director Albertina Carri:
-Did you think that the scenes of the naked girl could be controversial in this climate of paranoia with the boys' bodies?
-Yes, and I think they are scenes so strong that they are not even mentioned. In fact when we filmed them with Sol (Lopatín), the director of photography, we asked ourselves what to do with the material. I was a bit afraid of them, especially to explain to parents. But in that sense it was not so complicated. They are scenes that also have something annoying, that feel like unnecessary.