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Fashion Choices

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  • Fashion Choices

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    So, I represented Claude even though he hadn’t… he only made films, The Big Risk and The Dictator’s Guns. The Dictator’s Guns didn’t have the expected success and Claude didn’t want to film any more. He said he wouldn’t film any more. After that, it’s true that he had become a consultant-scriptwriter who straightened out scripts. Often, he was credited. Just as often, not. He told me that Gabin called him often telling him: “OK, Claude… “that script I’m going to do is OK, but the dessert’s missing.” It’s a real nice expression. I believe that Truffaut consulted him regularly. Regularly. You can’t say that he was writing. He dictated or he supplied sufficient ideas to change the structure, the dramatic construction of the film. He had worked with Malle, with Rappeneau, with… long time before, with other directors whose names I forgot. I asked Claude Sautet to read the script. He read it, he was taken by the story, He told me: “That’s an extraordinary story! It’s great! “But obviously, it’s not funny. “It could be much more funny! It’s got all the situations for that!” So.. so, he… “Is it OK with you to talk about it? “To work with me? To be really a bit, the co-writer?” “Well yes! Sure, yes!” So he came in and we started. And the same scenes, through our moments of crazy laughter in which he pushed the situations to their extreme, – in the dialogue, right? while talking with me – “Why doesn’t he do that?” He pushed me forward unconsciously, I hope, and which wasn’t there yet, written in the text which I had made. About his own films, he was, at each turn, full of doubts. Yet about the films of others, he had no doubt at all. And there… I talked with Claude about contracts, in general, he didn’t want to be named. Besides, he was always hoping… He’d say: “But no, it has no importance, just consult me, “and make sure not to pay me a lot because I don’t want to be paid a lot.” One time in the cinema, something I liked, it’s that, it’s… him telling himself: “It’s funny

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