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The release of 'Hoa Binh'

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Two versions of the film
Raoul Coutard Film-maker
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Alors on a tourné ce film et puis finalement on l'a tourné en son témoin. C'est-à-dire qu'on a fait une version en français et on a fait une version en vietnamien. En français c'était- Le môme parlait on lui mettait une ardoise devant pour qu'il puisse faire du- Je me rappelle plus comment ça s'appelle- Il répétait ce qui était écrit sur l'ardoise. Et puis quand on est arrivés en France, je suis allé à Londres faire une version en anglais. La version vietnamienne, on a été obligés de refaire un montage particulier et un mixage particulier parce qu'en vietnamien, c'était plus court le texte, donc on a refait le truc. Je tenais beaucoup et de Goldschmidt aussi- On se disait on va faire un truc, comme il y a beaucoup de Vietnamiens en France, d'un seul coup qu'un film vietnamien arrive à Paris, ça va les inciter à venir. Et on était sortis au Bonaparte, et on a fait un bide avec le film. Personne n'est venu voir ce film. Il n'y en a déjà pas beaucoup qui sont venus le voir en français, on a fait un bide avec ce film vietnamien. Et après, comme je connaissais beaucoup de Vietnamiens, un jour je leur ai dit- Mais je comprends pas pourquoi vous n'êtes pas venus voir le film ? Ils ont dit- On est pas venus parce que "Hoa Binh" il n'y a que les Communistes qui parlent de la paix. Ils ont cru que c'était un film politique. Ah c'est ça-
So we shot that film and in the end we did it using guide tracks. Which meant that we did a French version and a Vietnamese version. In French it was- The kid talked, we put a slate in front of him so he could- I don't remember what it's called, but he repeated what was written on the slate. And when we got back to France, I went to London do an English version. For the Vietnamese version, we had to do a different editing and a different dubbing because the text was shorter in Vietnamese, so we redid it. It was important to me and also to de Goldschmidt because we thought we're going to do something, since there are a lot of Vietnamese in France, if a Vietnamese film arrives in Paris all of a sudden, it will encourage them to go see it. And it had been released at the Bonaparte, and the film was a flop. No one came to see that film. There had already been few people who had seen it in French, so this Vietnamese film was a flop. And afterwards since I knew a lot of Vietnamese, I asked them- But I don't understand why you didn't go see the film? They said- We didn't go see it because "Hoa Binh", only the Communists talk about peace. They thought it was a political film. Ah that's it-

French cinematographer, Raoul Coutard (1924-2016) was twice nominated for the César Award for best cinematography which he won in 1978 for 'Le Crabe-tambour'. He made over 75 films and documentaries, including 'À Bout de Souffle', Le Mépris' and 'Band à Part'. He was the most acclaimed French cinematographer of his generation and one of the key figures of the New Wave.

Listeners: Bernard Cohn

Bernard Cohn est un réalisateur et écrivain français, ayant réalisé cinq film ainsi que de nombreux reportages et séries télévisées. En tant qu'assistant réalisateur, il a travaillé avec plusieurs grands cinéastes, notamment Luis Buñuel, François Truffaut, Otto Preminger et Woody Allen. Il fut membre fondateur du ciné-club Ciné-Qua-Non et a participé à la rédaction et traduction en anglais, de plusieurs ouvrages sur le cinéma.

Benard Cohn is a French filmmaker and writer, who has directed five films as well as numerous documentaries and television series. As an assistant director, he worked with many important filmmakers, including Luis Buñuel, François Jacob, Otto Preminger and Woody Allen. He was a founding member of the Ciné-Qua-Non cinema club and has acted as editor and translator for various publications on the world of cinema.

Duration: 1 minute, 37 seconds

Date story recorded: October 2004

Date story went live: 24 January 2008