Philippe Falardeau, Director: The Good Lie. It is two different forms of violence and their affect on people: on one side fundamentalists murdering people because of their faith or lack thereof, and on the other an extremely sanitized education system where a teacher kills herself in the classroom for reasons we don’t know, affecting everybody around.Philippe Falardeau: No, everything was scripted and they learned all their lines. People don’t do that as much nowadays.Philippe Falardeau: No, not at all. I think it helped setting the right tone and gave them something on which they can base the rest of their performance on emotionally.Philippe Falardeau: It was great.
From the start he told me that I should use cinemascope, which I didn’t think was appropriate, since I thought it should only be used for epic type of films. You learn to count, read and write, but at the same time, you learn how to make friends, experience feelings like hate, jealousy, competition, etc. A class is like the laboratory of what happens in “real life”; I think it’s the reason why so many artists go back to it, the richness of it.Philippe Falardeau: You have to be aware from the beginning that you are not going to devote the film to the themes, but the people, the characters. He had worked hard preparing for that scene and I know he used some stuff from a tough personal experience that happened a year prior. So I told him that he had to convince me and tell me why it was a good choice. Adapted from Evelyne de la Cheneliere's play, Bachir Lazhar depicts the encounter between two distant worlds and the power of self-expression.
Using great sensitivity and humor, Philippe Falardeau follows a humble man who is ready to transcend his own loss in order to accompany children beyond the silence and taboo of death. There is no way around it. il sagit de ladaptation cinématographique de la pièce Bashir Lazhar dÉvelyne de la Chenelière, créée au Théâtre dAujourdhui, à Montréal, du 7 mars au 1er avril 2006. He knew the work of Évelyne, which I felt reassuring. It was done on the first take. Speed was really important since we were working with children; you can’t leave them waiting for too long while you are making adjustments. I kind of miss the spirit of the NFB of the 60s and 70s where people were collaborating on each other’s films. It was not, “ok I’m going to take four months off and adapt this play.” It doesn’t work like that. I find writing really hard; you are alone and there are a lot of doubts. The character of Simon (Émilien Néron) was also mentioned, but only briefly. Falardeau also received the Claude Jutra Award at the Canadian Genies (now called Canadian Screen Awards), in 2001 for this film. I was surprised though; it is a small and modest film. Even though his stage work is habitually more burlesque, absurd and highly political, I really thought he would be perfect for the character: he is an immigrant, he’s different from them, but the kids find him reassuring and affable. Immédiatement adopté apr la critique et par le public de tous les horizons, le film de Falardeau sest taillé une place de choix dans la courte liste des films-événements du cinéma québécois de ces di… A lot of the fun during the screenwriting process came from fleshing-out these characters, creating their back-stories.Philippe Falardeau: No, not all. Profesor Lazhar (Monsieur Lazhar), película de Philippe Falardeau Por Eva Pereiro López, jueves, 7 de junio de 2012 Bachir Lazhar (Fellag) es un inmigrante argelino en Montreal (Canadá), tiene 55 años y necesita un trabajo. However, he had complete freedom to contribute and suggest ideas, of course. Each time it won a prize from the public, it also won one from the critics, which is sometimes hard to accomplish, but always welcome (laughs).